As mass media has come to intervene with politics in a more proactive way during modern times, the image of a politician has evolved into a more relevant factor compared with political content. This phenomenon is known as "image politics", and such externalized images as non-verbal cues have grown in importance, along with the numbers of female politicians. Thus image strategy has been instituted as a major research theme in the field of political marketing, especially for female politicians. In accordance with this theme, this study aims to approach fashion as part of image strategy of female politicians, in order to reemphasize political fashion as a valuable resource. The methodologies employed in this study are based on both the literature and positive research. Female politicians have long utilized fashion styles that are, or are assumed to be, the most appealing to their target base of support in a predominantly male-centered sector. In this sense, appropriate choices in the usage of apparel items, colors, hair styles, accessories, and others according to each situation and respective hierarchies are of the utmost importance. When attending official ceremonies and other related meetings, the strategic superiority afforded to a scientific approach based on thorough fashion research, compared with personal taste is imperative. The significance of this study lies within the recognition of the importance of fashion image, and how to utilize fashion for image strategy in practice, through the investigative synthesis and review of major preceding research.

The social responsibility of fashion companies has become a crucial factor considering company image and awareness. Businesses have thus increased their CSR activities. However, few studies have shown clear and consistent results regarding the effectiveness of CSR activities. Therefore, this study focuses on the evaluation of the direct effect of CSR on trust and corporate reputation including its moderation by consumer's perceived fit and motivation. A total of 284 completed questionnaires were obtained from adult consumers in the fashion market with promotional leaflets for CSR activities as stimuli. The results were as follows. First, the dimensions for CSR activities were categorized as follows: Social welfare responsibility, environment protection, economic responsibility, social regulation compliance, customer protection, and culture and arts support. Further social regulation compliance, and economic and social welfare responsibilities positively affected corporate trust and reputation. Second, the main effect of perceived CSR activities and fit on corporate trust and reputation was significant, and the interaction effects of the social welfare, environment protection, and culture and arts support of CSR activities and fit were significant. Finally, the interaction effect of perceived CSR activities and motivation on corporate trust and reputation was not significant, but the main effect was significant. Implications of how to manage and enhance the effectiveness of CSR activities are offered.

This study is to assist in developing creative designs based on the humor available in the fashion world of Moschino. For the research method, this writing examined literature on humor and Moschino's fashion world and analyzed Moschino's fashion collection, show window, Maison Moschino, and collaborative products to conduct an empirical analysis of humor shown to the fashion media. The research results are as follows. The humor in Moschino's fashion appeared in the form of surrealistic humor with the depaysement technique, deconstructive wit in clothing, such as distortion, change, or exaggeration, and textual humor, including brand symbols, logos, and graffiti. Collection pieces indicated the brand's confirmative identity based on humor with the surrealistic depaysement technique and deconstructive wit through irregular phenomena, such as change, distortion, exaggeration, and illusion in clothing form. Additionally, such attributes added to Moschino's wit and humor in decorative costume components as graphic images, graffiti, and brand symbols, including smile, love, and reversal. The show window display delivered surprises and smiles through the production of surrealistic space borrowed from various objects. In particular, performance with surrealistic images helped to show the characteristics of parodic humor. Maison Moschino was a surrealistic space for the concept of the fairy tale and for practical experience, thus working as a communication channel for humor and emotion. Collaborative products also clearly reflected the identity of the designer's own humor, which showed scarcity value as well as differentiation.

The influence of Japonism, which is the post-mid-19th century phenomenon of appreciating and preferring the Japanese style that manifested all across Western art, started to grow as a result of the active open-door policy of Japan at this time. As all areas of Japanese arts and culture, such as paintings, sculptures and theater plays, influenced Europe and America, this influence developed into a cultural phenomenon that was reflected even in fashion. The characteristic elements of the kimono first expanded from Paris and showed a similar silhouette to that of the traditional kimono in the early 20th century, but towards the middle and the end of the century, kimono sleeves that were connected as one piece without a connecting seam line between the sleeve and bodice started to appear. The foundation of this research focuses on the design characteristics of kimono sleeves that can be seen in 20th-century fashion, and five varying kimono sleeve jackets and coats based on these formative characteristics were designed. Each design had a gusset design added, which improved the external and mobility problems inherent in kimono sleeve patterns, while at the same time serving as a proposal for new design element applications. Additionally, through various changes to and attempts at designs using the kimono sleeve as a limiting factor, new design possibilities were explored.

Technological change leads to a value shift in human society. Various cultural experiences through the digital paradigm influence the expression of fashion. This article considers fashion film as a new form for presenting fashion and explores the distinctiveness of expression in digital fashion film. For the methodology, a literature review was conducted to examine the concepts and features of digital fashion film and metareality. Empirical research was also performed by drawing from Nick Knight’s digital films, “Sans Couture”, “#asif”, and “The Elegant Universe” and by specifically analyzing the classification of the themes, visuals, and auditory expression. The results are as follows. The proliferation of fashion film has accelerated in the internet environment. New media in the digital era allows images to become more realistic and variable through immaterial conversion. Metareality is the notion of a reality beyond existence. A metarealistic image maintains the metaphysical nature of an object and transcends empirical appearance. It possesses immaterial, transboundary, and multidimensional features, and the image is realized by digital technology. The expression analysis identifies the metareality expressed in contemporary fashion film appearing as atypical forms, irrational combinations, and the playfulness of motion. It shows a positive attitude, transcending the immaterial limit of reality toward fashion. This study indicates how fashion as products challenges the metaphysical transformation in the digital era. The exploration of metareality in digital fashion film promotes a wider perspective and understanding of the concept of fashion.

Corporate association—which refers to consumers’ beliefs, knowledge, perceptions, and evaluations of a corporation—can affect consumers’ purchasing intentions. Corporate association consists of corporate ability association and corporate social responsibility association. Corporate ability association refers to a company’s product quality, corporate innovation, productivity, consumer orientation, and after service. Corporate social responsibility association, which refers to the social perspective a company has of its responsibility to society, can affect corporate image and consumers’ purchasing intentions. Eco-labeling for protecting and sustaining the environment is one of the important green marketing strategies in the fashion business that can influence corporate association and consumers’ purchasing intentions. The purpose of this study was to investigate the effect of consumers’ eco-label recognition on their corporate association and intentions to purchase eco-friendly fashion products. Questionnaires were distributed to consumers. The 263 usable questionnaires that were returned were analyzed by descriptive statistics, Cronbach’s alpha, factor analysis, regression analysis, and t-test. The results were as follows: There was a significant effect of eco-label recognition on corporate association (ability association and social responsibility association). Eco-label recognition and corporate association were found to significantly affect consumers’ purchasing intentions. Regarding the eco-friendly fashion product buying experience, there was no significant difference on corporate association and buying intention, but there was significant difference on eco-label recognition.

This paper examines advertising images of fashion brands in vertical social network site (SNS) from the viewpoints of message strategies. Vertical social network sites are types of social curation systems applied to social networking, where information is selected, organized, and maintained. Fashion brands communicate with consumers by presenting images on vertical SNSs, anticipating improvements in brand image, popularity, and loyalty. Those images portray content for particular brands and seasonal concepts, thus creating paths for product sales information. Marketing via SNSs corresponds to relationship marketing, which refers to long-term interrelationship and value augmentation between the company and consumer, and viral advertising, which relies on word of mouth distribution via social network platforms. Taylor’s six-segment message strategy wheel, often used for analyzing viral ads, was applied to conduct a content analysis of the images. A total of 2,656 images of fashion brands advertised on Instagram were selected and analyzed. Results indicated that brand values were somewhat related to the number of followers. Follower rankings and comment rankings were also correlated. In general, fashion brands projected sensory messages most often. Acute need and rational messages were less common than other messages. Sports brands and luxury brands presented sensory messages, whereas fast fashion brands projected routine images most often. Fashion brands promoted on vertical SNSs should portray advertising images that combine message strategies.

Fast fashion brand marketers should develop marketing strategies that effectively satisfy the values consumers seek when purchasing fast fashion brands. This study aimed to identify the consumption value factors of fast fashion brands and to reveal the value factors that influence attitudes toward purchasing fast fashion brands. Data were gathered by surveying university students in the Seoul metropolitan area using convenience sampling. Three hundred and five questionnaires were used in the statistical analysis, which consisted of exploratory factor analysis using SPSS and confirmatory factor analysis and path analysis using AMOS. The factor analysis revealed the following six value factors: Emotional value, social value, price/value for money, durability value, eco-value, and consistency value. The fit statistic for the six-factor model was quite acceptable. Two of the six value factors, emotional value and price/value for money, positively influenced attitudes toward purchasing fast fashion brands. The overall fits of the revealed model suggested that the model fit the data well. The results suggested that fast fashion marketers need to understand the value factors that motivate consumers to purchase fast fashion brands. In addition, marketers should focus their efforts on satisfying emotional value and price/value for money in order to establish their brands in the increasingly competitive fast fashion industry.

The purpose of this study was to analyze the meaning of soul fashion in American pop culture. This study was conducted using a literature research method based on the prior theses, journals and relevant books. Soul as a concept, originated in African-American communities and evolved from the ideology of Black Power, which prompted Black Nationalism. Soul fashion, which took on two styles in African American culture began to embody black resistance and community pride in the late 20th century. One of these, hip-hop style represented the message of resistance and a sense of beauty outside the mainstream. The other, African–inspired fashion, which utilized a look inspired by African tradition, rejected white supremacy by expressing a proud dignity. As a result, the meaning of “soul” in soul fashion represented by American pop culture resulted in contrasting appearance due to different elements. First, one of its meanings is ironic and sarcastic, and it expressed historical trauma, cultural stereotypes, self-hatred, and self-degradation and, the self-mutilation of African-American by cynically distorting their silhouettes and, using modified materials and patterns, fantastic colors, and extraordinary accessories. Second, the other meanings is the pride and dignity of Black Power, which visualized the concentration of ideas implied by the tradition of African-American, through soul fashion by using fierce traditional of African costumes, unique patterns and accessories.

The purpose of this study is to empirically investigate consumers’ clothes shopping orientation factors and perceived risk factors affecting the purchase intention for fashion products in social commerce. For this study, questionnaires were given to 500 adults in their 20s~30s who had experience of using social commerce related to general products or services. To analyze the results of this study, we conducted descriptive analysis, factor analysis, reliability analysis, a chi-square independence test, and hierarchical regression analysis using SPSS 18.0. The results were as follows. First, social commerce users’clothes shopping orientations were classified into the pursuit of pleasure, brand, fashion innovation, trend, and utility, and the perceived risks were classified into the risks related to products, consumer service, loss of purchase opportunity, confidence in the web site, economy, and security. Second, clothes shopping orientation factors and perceived risk factors had a somewhat significant influence on the purchase intention for fashion products. Third, there was a significant difference between sexes regarding the influences of the clothes shopping orientation factors and perceived risk factors for the purchase intention of fashion products. Finally, this study aims to provide useful information for fashion companies to enable them to establish specific strategies that can influence consumers’purchase behaviors through social commerce.

The purpose of this study is to find an expression method for Korean fashion design that can have competitiveness in the global fashion market. For this, fashion specialists at home and abroad were interviewed, focusing on their opinions on the Korean motifs outlined in existing literature studies. First, aesthetic sense and expression characteristics that have appeared in existing studies on Korean art, Korean traditional costume, and Korean fashion were explored. As a result, they were categorized into: Modesty/plainness, freewheelingness, religion/custom, and humor/joke. During this process, Korean design motifs were extracted based on the aesthetic characteristic and expression method of aesthetic sense. According to the opinions on Korean design motifs and Korean fashion design works drawn from the interviews with fashion specialists at home and abroad, Changhomun was the favorite design motif to be utilized in Korean fashion design. The Korean specialists thought that visual design motifs were important, while the overseas specialists had more interest in abstract design motifs, which embody the background and story behind the motif. Regarding the fashion design associated with the Korean design motif, all specialists at home and abroad favored the design using ceramics and wrapping cloth. Regarding the choice of fashion image, Korean specialists chose the design utilizing Hangeul as the most Korean, while the foreign specialists chose designs reflecting the design motifs of Hangeul and Hanbok for women. The Korean specialists chose relatively more Korean images, while the foreign specialists chose more eastern images or other images than Korean images.

This study analyzed consumers’ awareness, preference levels, and effect expectations in relation to fashion art marketing according to the types of such marketing (collaboration between fashion and art in fashion products, called product collaboration; sponsorship for art foundation; artist sponsorship; collaboration for the design of a space/store/display; ad/promotional film collaboration). The study also investigated the influence of consumers’ attitudes toward fashion art marketing with respect to purchase intention. The study was implemented through a descriptive survey method. The sample consisted of 342 men and women between the ages of 20 and 45. The data were analyzed by factor analysis, one-way ANOVA, and multiple regression analysis. The results revealed that there are significant differences in consumers’ awareness and effect expectations in relation to fashion art marketing according to the types of fashion art marketing activities. While no differences were found in preference levels according to the type of fashion art marketing, all the types of art marketing showed overall high levels of preference. The collaboration between fashion and art in fashion products, which had the highest awareness, also showed the highest expected effect. In all the types of fashion art marketing, consumers’ attitudes had a significant influence on purchase intention. In cases of sponsorship for an art foundation, artist sponsorship, collaboration for the design of a space/store/display, and ad/promotional films, consumers’ effect expectations had the most significant influence on purchase intention, followed by preference and awareness level. These results could be used to provide appropriate proposals to fashion brands when they plan to set up an art marketing strategy.

This study aims to clarify the aesthetic values between emotion of human and expression of technology in contemporary fashion as it analyzes formative characteristics of related cases in fashion based on principles of 3D Printing technology and the viewpoint of mechanic aesthetics. The conclusions of this study are as follows. First, 3D Printing fashion is not only expressed diverse variations by its principles of formative methods, materials and properties, but also changes of silhouette by applying system of designers. Second, general characteristics of 3D Printing fashion is represented by various applications in SLS system, and it can be specifically explained application to a portion of clothing, decorative roles of clothing, complicated pattern making through crossing fabrics using 3D scanner and displaying a certain object changing fashion styles, and so forth. Third, the formative characteristics of 3D Printing fashion from the perspective of mechanic aesthetics is as follows. It can be analyzed as the integration of metaphysical values through compared symbolization of natural feature and technical evolution, partial dynamics and interactive velocity-based, formative combinations for abstract expression using architectural components, cosmos images and substantialized structures through images of organic space interacted human shapes. As the mention above, 3D Printing technology can creative a diverse area of fashion, and express images of new technological fashion through various works with continuous development of techniques.

The purpose of this study was to investigate the relationship between working environment and quality of life of fashion vendor company workers by using working environment variables such as job stress, job burnout, job satisfaction, and turnover intention. Preliminary test was conducted by interviewing fashion vendor company workers in order to find out factors that were more suitable for their working environment. Main survey was conducted to 200 fashion vendor company workers and 194 responses were analyzed. The results of correlation analysis showed that job stress, job burnout, job satisfaction, turnover intention, and factors of quality of life had significant relationships. Boss stress, role stress, achivement decrease, and personal condition satisfaction showed a significant relationship with turnover intention. The results of path analysis showed that job stress had a positive relationship with job burnout and job burnout had a negative relationship with job satisfaction. Both job stress and job burnout had a positive relationship with turnover intention, whereas job satisfaction had a negative relationship with turnover intention. Also, the results showed that job burnout and turnover intention had a negative relationship with quality of life of fashion vendor company workers, whereas job satisfaction had a positive relationship with quality of life of fashion vendor company workers.

The digital technology that has brought about the information revolution acts as the causes of multi-faceted socio-cultural phenomena. The spread of the digital environment and the popularity of the digital devices accelerate the phenomenon or the fusion of culture and technology, and such a phenomenon is no exception in the fashion design. Namely, the combination of fashion design and digital-based technology draws more and more attention; Not only the technology is simply applied to the fashion design, but also it is used as an emotional tool to enhance consumers' satisfaction, while some designs and marketing cases stimulating consumers' emotion are highlighted importantly. This study was aimed at surveying and analyzing the contemporary fashion using the digital technology and thereupon, assessing the characteristics of the emotional representations of technology as well as their aesthetic values. To this end, the theory of ‘science of emotion and sensibility’ was applied to divide the characteristics of emotional technological expressions in the contemporary fashion into immateriality, non-boundary, multi-media and interaction, while the aesthetic values of the emotional technology immanent in the contemporary fashion were categorized into communication & participation, conceptual configuration, physical expansion and variable movement. This study analyzed uses of technology for human emotion and sensibility shown in not only collections but also communication media and exhibition spaces and thereby, suggested the direction for our fashion industry to fulfill consumers' changing needs and advance further.

The purpose of this study was to verify the effect of mobile fashion shopping characteristics and perceived interactivity on perceived usefulness, and the effect of perceived usefulness on purchase attitude and purchase intention based on TAM (Technology Acceptance Model). We conducted the survey targeting smartphone users in their 20s~30s living in Seoul and metropolitan area. Among 483 data collected, we used 452 samples except 31 unreliable respondents for the analysis. To analyze the structural equation model, we did factor analysis, reliability analysis, and structural equation model analysis using SPSS 18.0 and AMOS 16.0. The results were as follows: We confirmed 5 mobile fashion shopping characteristics (enjoyment, credibility, instant connectivity, security, and personalization) and 3 perceived interactivity factors (control, responsiveness and two-way communication, and contextual offer) as results of confirmative factor analysis. Mobile fashion shopping characteristics and perceived interactivity had positive effects on perceived usefulness. Mobile fashion shopping characteristics affected perceived interactivity and also had indirect effect on perceived usefulness via perceived interactivity. In other words, mobile fashion shopping characteristics had direct and indirect effect on perceived usefulness. Perceived usefulness influenced purchase attitude and purchase attitude influenced purchase intention. Perceived usefulness had direct effect on purchase intention and the indirect effect through purchase attitude was significant.

This study understood what effect was produced on the purchasing decision making of outdoor wear by a shopping orientation, fashion involvement and demographic characteristics offered practical suggestions as to what effect was produced on the store selection criteria, product selection criteria for purchasing decision making in purchasing outdoor wear. This research was conducted through a questionnaire survey, and 397 males in were collected for analysis. The results were as follows. First, shopping orientation group was classified into hedonic shopping orientation group and utilitarian shopping orientation group. And it was classified into high fashion involvement group and low fashion involvement group according to fashion involvement. Product selection criteria were classified into 2 factors such as intrinsic attributes and extrinsic attributes. And store selection criteria were classified into 4 factors such as store atmosphere, store environment, promotion and salesmen. Second, there was partly significant difference in product selection criteria, and store selection criteria between utilitarian shopping group and hedonic shopping group. Third, there was significant difference in product selection criteria and store selection criteria between high fashion involvement group and low fashion involvement group. Finally, there was significant difference in the and according to age, job, and income among demographic characteristics.

본 연구는 패션산업에서 상품라벨과 패션용어의 형태, 즉 한글과 외래어, 외국어 등 표기 종류에 따라 소비자 의 감성이 어떻게 다르게 나타나는지 분석한 것이다. 20대 소비자 200명을 대상으로 패션아이템 1종에 대한 라벨 1종과 3종 패션용어에 대하여 설문조사를 실시하였는데 외래어 영어표기, 외래어 한글표기, 순한글표기 등 3 가지 형태에 대해 15개 형용사로 구성된 감성 척도를 이용하여 감성을 측정하였고 또한 선호도와 상품에 대한 예상가격을 질문하였다. 결과로는 소비자들은 라벨에서 한글보다 외래어를 선호하였으며 외래어 라벨 중에서도 한글표기보다 영어표기를 선호하였다. 외래어 라벨을 볼 때 소비자들은 패션 제품이 더 ‘긍정적이고 세련되고 화 려하며 우아하다’고 평가하고 있었으며 또 상품의 가격을 더 높은 것으로 예상하였다. 즉 외래어 영어표기 라벨이 모든 평가에서 가장 높은 점수를 받았고, 외래어 한글표기가 다음 순이었으며, 순한글 라벨은 가장 낮은 평가를 받았다. 소비자들은 자신의 유행 몰입도에 따라서 감성 평가를 부분적으로 다르게 하고 있는 것으로 나타났다. 즉 유행 몰입도가 높은 소비자들은 낮은 소비자보다 외래어를 볼때 ‘세련된 우아한 화려한’ 등에 대해서 더 높게 평가하고 있었다. 또한 유행몰입도가 높은 소비자들은 낮은 소비자보다 순한글표기 라벨을 볼 때 ‘친근한, 안정된’ 등에 대해서 더 높게 또는 외래어와 유사하게 평가하고 있었다.

The purpose of this study is to review the concept and thinking structure of deconstruction theoretically and thereupon, analyze the visual beauty and wearable comfort of the clothing and further, discuss the aesthetic characteristics and values of the decentering phenomenon in the 21st century fashion. Deconstruction provides for an cognitive framework whereby we could comprehensively review the difficult-to-understand and imprudent creativity unravelling in the name of the post-modernism as well as the ambiguous visual beauty and wearable comfort of our contemporary fashion. In particular, deconstruction refuses such concepts involving the relationship between the conventional clothing and its components as order, symmetry, balance, harmony, perfection and simplicity and instead, attaches some sense of value to such relatively inferior concepts as disorder, asymmetry, unbalance, disharmony, imperfection and complexity, and thus, reflects them in the modes of aesthetic representations to create new aesthetics and expand the expressive potential.

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.