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.

A Beoseonbongip is a pouch that holds patterns for making Beoseons. This study aimed to identify the aesthetic and symbolic contents of the embroidery patterns by analyzing the kind, combination types, expression and arrangement types of patterns. In total, 140 Beoseonbongip artifacts, which were mostly made in the Joseon Dynasty, were quantitatively and qualitatively analyzed. The results indicated that about 83% of the total had flower patterns. Various kinds of embroidery patterns used for Beoseonbongips were newly identified. About 73% of the total had different kinds of patterns. Pattern combination types were identified by the kinds of patterns, the number of paired patterns, and the traditional painting styles used. The patterns of Beoseonbongips were expressed schematically more than realistically or abstractly. Beoseonbongips with different patterns on the four triangle tips of the front face and Beoseonbongips with the same/similar patterns on two opposite tips of the front face were observed more than the other types. On the back face, the embroidery patterns were symmetrically arranged, showing various division structures. It was inferred that wishes (e.g., marital harmony, fertility, good health and longevity, happiness, and wealth and fame) were expressed through the symbolic patterns embroidered on the Beoseonbongips. In terms of Korean traditional beauty, the union with nature, the harmony of yin and yang, symmetric balance, and neatness were also emphasized as a esthetic characteristics of Beoseonbongips.

The object of this study is to develop textile designs and fashion products based on the cultural resource of Jeju Bangsatop, which means a stone tower preventing misfortune and driving out evil spirits. The field surveys of 32 Bangsatops located at 17 villages in Jeju were conducted. As a result, unlike stone towers located in other regions, Jeju Bangsatops made with basalt. In addition, wood and stone birds, Dolhareungbang, and other sculptures are built on the tops. Jeju Bangsatops were classified into four types based on the body form of the tops: Conical, truncated conical, trapezoid, and irregular shaped Bangsatops. Jeju Bangsatops located in a area or a village are symmetrically arranged in direction of south and north, left and right, east and west, or face to face. The conical, truncated conical, and irregular shaped Jeju Bangsatops which are designated as folk cultural properties or which have the unique sculptures of stone birds and the statues of Dolhareungbang built on the tops were selected as motifs for textile pattern design. The 4 basic patterns of Jeju Bangstops were designed. The six creative textile designs were developed by the various repeat arrangements of the basic patterns and were printed on oxford cotton fabrics by digital textile printing (DTP) method. The sixteen products of wallets, bags, hats and shoes were actually made with the DTP fabrics, the DTP fabrics which were naturally dyed in gray and blue colors, or the DTP fabrics which were redesigned with textile crayon. Therefore, it is confirmed that Jeju Bangsatop could be very useful as a motif for the development of cultural products focusing on Jeju tourism souvenir market.

This study is to develop cultural products based on 'Jeju Choga', which means the traditional houses in Jeju. For the product development, old literature review, field surveys, and consumer surveys were employed. Through old literatures and field surveys, the unique and visual characteristics of Jeju Choga were confirmed: A thatched roof with lattice pattern, a side wall and fences with porous stones, a 'Jungnang' serving as a gate, and a 'Pungchai' preventing strong sola radiation and 'Ollai' meaning a narrow street in front of the Choga. As a results of consumer survey conducted before the development of products, consumers highly recognized and associated Jeju Choga as Jeju representative image. The six basic patterns of Jeju Choga were drawn and eight textile designs were created through the repeated arrangements of the basic patterns. Using the created textile designs and digital printing method, the eleven new fabrics with the patterns of Jeju Choga were developed. The various kinds of ten bags and tow wallets made with the new fabrics. As a result of consumer evaluation for the twelve products made in this study, the scores of preference and purchase intention were above the average work for the most products of them. In particular, the preference and purchase intention of the square shoulder bag, the big-size shopper bag, and the small-size cross bag were very positively evaluated. Therefore, it is confirmed that Jeju Choga could be very useful as a motif for the development of cultural products focusing on Jeju tourism souvenir market.

The pattern cases for Korean traditional socks are named “beoseonbongip” which means a pouch to keep patterns for making “beoseon”. “Beoseon” is Korean traditional socks. This study is to identify characteristics of the pattern cases and to develop cultural products based on the unique characteristics of the pattern cases. One hundred fifty one photos of “beosonbongip” were collected and quantitatively and qualitatively analyzed. Seventy percent of them were made between Joseon Dynasty and 1960s. As a result, most of the collected pattern cases are rectangular and square shapes, red color, and silk fabrics, and sizes of them are from 9cm to 15cm. A few pattern cases with different sizes and colors were also observed. Most pattern cases were made by fixing two among four triangle pieces which made by folding four tips of a rectangular or square cloth and then puting a not or a loop on the remaining triangle pieces in order to open and close the pattern cases. In a small number of the pattern cases, three of the four pieces were fixed and a button, a bead, a broach, or two nots or two loops were put on the other piece for opening and closing. Products such as apparels, bags, pouches, frames, and key holders were made using “beoseonbongip” form and construction method. This shows that “beoseonbongip” is a useful motive for creative product development.