Research aim of this study was to understand consumers’ perceptions of upcycled luxury fashion using previous collections and remnant materials through a comparison with consumers’ perceptions of generic luxury fashion. Rarity would be a keyword for upcycled luxury fashion using previous collections. Besides, environmental consciousness is relatively less significant for upcycled luxury fashion.

Forming perceptions and having experiences through digital media is becoming more common than having in-person relationships in digital media environment. This study, which was conducted when Fashion Week transitioned to a digital platform in 2020, focuses on fashion shows that are announced through social media. The purpose of the study is to explore how traditional fashion media change through social media and what their media characteristics are from the perspective of remediation, which has been suggested by Bolter and Grusin (1999) as the logic of change in the new media. The results of the case analysis in this study, based on the definition and logic of remediation outlined through a literature review, are that social media fashion shows are remediated from traditional fashion shows in the manner that they are represented, improved, refashioned, and absorbed. The characteristics of remediation expressed in social-media-based fashion shows were derived from repurposed video content, improved the elements of fashion shows to express the shows in various ways, expanded places within the fashion shows, and decontextualized and visually flattened spatial discontinuity, and from genre transitions and perceptual shifts. Socialmedia- based fashion shows are becoming a tool to renew the fashion experience and views of fashion and strengthen the authenticity of the brand by interacting with the audience, improving on the spatial limitations of traditional fashion shows, and diversifying fashion presentation methods.

This study empirically verified the effect of the characteristics of live commerce on consumer trust and purchase intention. An online survey was conducted targeting adult women in their 20s and 30s who watched videos relating to fashion products on the NAVER shopping live channel; 281 questionnaires were analyzed using the IBM SPSS statistics 23 and AMOS 21 software packages. Consequently, the four factors of interactivity, attractiveness, price discount, and playfulness were identified from the data as characteristics of live commerce. Whereas interactivity and playfulness positively affected trust in both the seller and the product, attractiveness did nor significantly affect trust in the seller and the product. Furthermore, price discount had a significant positive effect only on trust in the seller and had no significant effect on trust in the product. In addition, trust in both the seller and the product had a significant positive effect on consumers’ purchase intention; in particular, trust in the seller had a greater influence on consumers’ purchase intention than trust in the product did. Research on the characteristics of live commerce can contribute to extend the theorical framework of live commerce research. Finally, fashion companies using live commerce channels will be able to develop live commerce channels that can elicit positive consumer perceptions based on the results of this study.

This study was conducted to investigate the effect of relationship and service marketing on the brand interest and behaviors among Korean and Chinese active senior consumers and whether this effect differed between the two groups. A survey was conducted by having participants complete questionnaires administered by a research firm. For empirical analysis, frequency, EFA, CFA, SEM, the metric invariance test, and multiple-group comparison analysis were performed. The analysis results revealed that relationship marketing positively affected both brand interest and consumer behavior. Although service marketing positively affected brand interest, it did not have a significant effect on consumer behavior. In other words, brand interest positively affected consumer behavior through relationship and service marketing. Multiple-group comparison analysis demonstrated that no difference existed between Korean and Chinese active consumers in terms of how relationship marketing affected their brand interest, but a difference existed in how it affected their behavior. Service marketing had a greater influence on Chinese active senior consumers’ brand interest than on Korean active senior consumers. However no difference existed between the two groups with respect to how service marketing affected their behaviors. Finally, brand interest had a positive effect only on Korean active senior consumers’ behavior through relationship and service marketing, but not on Chinese active senior consumers. In conclusion, relationship and service marketing should be used to enhance the brand interest among Korean active senior consumers, and business activities should be planned by building relationships with Chinese active senior consumers to affect their behavior.

The purpose of this study is to examine emerging trends in fashion films and the impact of COVID-19 through analysis of Prada films produced before and after the initial spread of the COVID-19 pandemic. We selected 40 cases occurring prior to the pandemic, from June to December 2019, and 21 cases occurring since the outbreak, from June to December 2020. To identify relevant trends, we conduct a literature review and examine a range of case studies. First, travel restrictions and confronting activities currently inhibit production. Through our case study analysis, we identify nineteen cases in between before and after COVID-19. Secondly, Prada can be seen to mainly produce episodes and promotional films. Additionally, it develops content showcasing brand values in environmental, cultural, creative, and sport-related fields; intended audiences extend beyond the realm of fashion. Thirdly, a new film category began to develop after the outbreak of COVID-19, namely, narrative films utilizing virtual interactions. According to our analysis results, we expect film production that is increasingly facilitated by virtual communication, technology utilization, and online platforms to continue even after the resolution of COVID-19. New film categories will emerge, and we predict that the gap between the number of cases before and after COVID-19 will narrow.

The aim of this study was to analyze the semantic network structure of keywords and the visual composition of images extracted from Instagram in relation to the multipersona phenomenon with in fashion imagery, which has recently been attracting attention. To this end, the concept of a ‘secondary character’, which forms a separate identity from a ‘main character’ on various social media platforms as well as on the airwaves, was considered as the spread of multi-persona and #SecondaryCharacter on Instagram was investigated. 3,801 keywords were collected after crawling the data using Python and morphological analysis was undertaken using KoNLP. The semantic network structure was then examined by conducting a CONCOR analysis using UCINET and Netdraw to determine the top 50 keywords. The results were then classified into a total of 6 clusters. In accordance with the meaning and context of the keywords included in each cluster, group names were assigned : virtual characters, relationship with the main character, hobbies, daily record, N-job person, media and marketing. Image analysis considered the technical, compositional, and social styles of the media based on Gillian Rose’s visual analysis method. The results determined that Instagram uses fashion images that virtualize one's face to produce multi-persona representation s that show various occupations, describe different types of hobbies, and depict situations pertaining to various social roles.

The purpose of this study is twofold: First, to develop new sustainable design methods (aligned with ethnic elements and traditional culture) combined with three-dimensional digital clothing technology throughout the design process, which can be presented as guideline materials for various fashion designs to be developed in contemporary sensibilities. Second, it is the intention to produce creative fashion designs by incorporating the characteristics and methods of Miao’s Huangping batik dyeing technique and to present various possibilities in the fashion design field. The overall design characteristics sought by Miao minority are in line with the complex terrain and the ecological and climatic conditions. Miaoist batik dyeing (registered as part of Chinese national intangible cultural heritage) features unique production methods and patterns. The study results are as follows. First, this attempt has enabled understanding of the national costume culture as Chinese Miao’s traditional cultural heritage to be promoted, while the direction of contemporary design development using traditional elements has been presented. Second, the study demonstrated new and innovative expressions and styles relying on three-dimensional digital contouring technology and identified the possibility of developing various designs. Third, it was confirmed that the dyed batik pattern design created by the three-dimensional digital contouring technology could be recombined or expanded as digital printing to express the traditional ethnic designs in a practical manner utilizing digital printing techniques based on traditional characteristics.

The emergence of environmental and social issues has led to global discussions for the realization of sustainable development. The purpose of this study is to propose a method of sustainable fashion design using waste Hanbok, focusing on men's Hanbok with cultural values. The study utilizes literature research and fashion design development. From the literature study, reform was judged to be a higher concept encompassing reduction, recycling, and upcycling. Reduction is a design method through removal, and recycling design transforms from its original form into a completely different product. Upcycling design focuses on improvement and change in functionality. Accordingly, nine redesigns using men’s Hanbok were developed from which three were produced. Consequently, the reduction design demonstrated a small range of variation without changing the item, and cultural sustainability was confirmed through the design that removed the components and recombined the Hanbok. Second, recycling redesign can be reconstituted into a different item. Third, upcycling enables various designs through module assembly, which prolongs the lifespan of the product and confirms its value as a raw material for waste Hanbok. This study is meaningful in realizing sustainable fashion and suggesting practical measures for the sustainability of Korean traditional culture and creative fashion design planning.