Recently, the textile and fashion industry has adopted 3D printing technology, through which filaments are accumulated continuously in the form of sections to produce digitalized three-dimensional fashion products. Little research has been done regarding the consumer perspectives on 3D printed fashion product. Therefore, the purpose of this study was to investigate the effects of consumer innovativeness, uniqueness, and perception factors on consumer attitudes and purchasing intentions for 3D printed fashion products. A questionnaire was given to consumers living in Seoul and Kyunggi, South Korea. The data obtained from the 159 completed questionnaires was analyzed by regression analysis, factor analysis, and Cronbach’s alpha using SPSS 24.0. The results were as follows: First, consumer innovativeness and uniqueness, in descending order, positively affect the perceived social image. Consumer innovativeness positively affects perceived aesthetics and consumer uniqueness positively affects perceived novelty. Second, social image has a positive effect on consumer attitudes to 3D printed fashion products. Third, consumer attitude positively affects purchasing intentions towards 3D printed fashion products. Fourth, consumer innovativeness and uniqueness, in descending order, have a positive effect on consumer attitudes and purchasing intentions for 3D printed fashion products. Fifth, social image and novelty, in descending order, positively affect purchase intentions for 3D printed fashion products. Therefore fashion firms should develop their marketing strategy to focus on innovative, unique consumers as a main target and aim to enhance buyers’ social image by using 3D printed fashion products.

Upcycling is the process of repurposing abandoned resources or useless products into products of better quality or higher environmental value. Upcycling products are evaluated to be sustainable because they demonstrate environmental values. However, domestic upcycling companies are operating on a small scale with a slow growth rate. This study aims to examine the value and risk factors of upcycling products from previous literature and clarify the effect of these ambivalent characteristics on purchase intention. This provides direction regarding factors upcycling companies should focus on. The data were collected via an online experiment with women in their 20s and 30s residing in South Korea, nationwide. The data were statistically analyzed using SPSS 21.0 and AMOS 18.0. Analysis of this data suggests that environmental, design, and self-expression value positively affect purchase intention. This extends previous upcycling literature by identifying design and self-expression value as important antecedents of purchase intention. However, in contrast to previous literature, no significant effect of performance or diversity risk was found. These results indicate that ethical attitude has a moderating effect on the relationship between environmental value and purchase intention. This study confirms that consumers intend to purchase upcycling products when they possess not only environmental value but also design and self-expression value.

The purpose of this study was to review and establish the two concepts of art film and artistic expression in Prada fashion films, through a literature review of domestic and international case studies, as a form of luxury branded content, Prada fashion films are considered to artistic film genre. For the study, aesthetic expression in art films as discussed in the previous research was divided into four types. The study method was to review fashion / art films from the founding of YouTube, specially, works that used digital images from Thunder Perfect Mind, which was introduced in Prada in 2005, to Nylon Farm in 2018, stylistic features were searched by film. In addition, for this study, fashion film was analyzed based on the typology of art films. The following conclusions regarding artistic expression were drawn from this study : First, the Prada fashion films represent a transition to advanced art through a conceptual approach. Second, the causal relationships personality psychology can be cited through the disturbed and fragmented narrative lines. Third, the films help people identity Prada’s aesthetics by humanizing the luxury brand. Fourth, the films are a feature of serialization.

Digital signage in a smart store would engage and invoke responses from consumers because good in-store experiences are more important than ever. Thus, the present study investigates consumer perceptions of interactive digital signage integrating technology acceptance model. Specifically, the current study examined 1) the effects of personal and fashion innovativeness on interactivity; 2) the effect of interactivity on perceived usefulness, ease of use, and enjoyment; and 3) the effects of perceived usefulness, ease of use, and enjoyment on intentions to use the products and the store, visit the store, and engage in word-of-mouth. As a pre-study, two researchers visited the smart stores of six brands in Seoul, all of which integrate various technologies in the fashion field. A video clip was developed as a stimulus to the study. A total of 214 responses were gathered and analyzed. The results were as follows. Personal innovativeness has a significantly positive effect on interactivity, whereas fashion innovativeness has no significant effect. Interactivity had positive effects on the perceived usefulness, ease of use, and enjoyment. Consumer responses (i.e., intentions to use, visit, and engage in word-of-mouth) were predicted by usefulness and enjoyment, but not by ease of use. The findings of this study could provide the fashion industry and retailers practical and valuable insights into enhancing consumers’ in-store experiences through the use of interactive digital signage.

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.