이 연구의 목적은 글로벌시대 디아스포라에 의한 초국적 정체성의 출현과 형성과정, 존재 양상, 기능역할, 작동메커니즘 등을 고찰하는데 있다. 디아스 포라의 초국적 정체성 논쟁과 다양성에 관한 연구결과는 다음과 같다. 첫째, 초국적 정체성 논쟁은 결국 이주자 개인이 자기인식에 대한 자기결정을 어떻게 대응해 나갈 것인가라는 인정(승인)과 타자와의 관계성에 의해 결정된 것으로 나타났다. 둘째, 개인적 정체성, 집단적 정체성, 문화적 정체성, 국가적 정체성 등 다양한 정체성의 출현은 이주자의 개인적 경험(자기인식)이나, 상호작용(관계성), 불안정한 지위, 정치적 지지 등 다양한 요소들이 결합되어 형성된 것으로 나타났다. 셋째, 글로벌시대 정체성의 개념은 에릭슨의 예상을 훨씬 뛰어넘어 의미확대를 통해 일반인들에게 전폭적으로 전파되었다. 그 이유는 정체성의 개념자체가 개인보다는 민족과 국가라는 보다 확대된 의미 에서 국가이데올로기로서 기능을 수행해왔기 때문이다. 넷째, 초국적 정체성이란 개인의 생물학적 특성이든 민족을 대표하는 추상적인 개념이든 자기결정의 주체성과 감정의지에 의해 끊임없이 반복 재생산되고 있는 것으로 나 타났다. 글로벌시대 초국적 정체성의 가변성과 유동성은 디아스포라 정체성 의 다양성을 초래하였다. 그리고 이러한 초국적 정체성은 개인과 집단의 강 약, 분리와 통합, 새로운 집단의 형성과 유지 등과 직접적인 관련성을 가지고 있는 것으로 나타났다. 다섯째, 사례연구결과, 중국조선족의 초국적 정체 성은 과계민족으로서 중국국적을 소유한 국민정체성, 디아스포라적 관점에서 이중정체성･이중문화 성격의 적극적 활용을 주장하는 ‘제3의 정체성’등으로 다양하게 분화되고 있는 것으로 나타났다. 여섯째, 사례연구결과, 일계브라질 인의 초국적 정체성은 제1유형(일본인 정체성 지향), 제2유형(브라질인 정체 성 지향), 제3유형(일계인 정체성 지향) 등으로 나타났다. 결론적으로 이 연구는 디아스포라의 초국적 정체성이 이주지에서의 차별과 배제를 통해 이주자 자신을 새로운 정체성으로 생산 또는 재생산해 내고 있음을 시사하고 있 다.

이 논문은 1880년대와 1890년대에 예이츠가 민속을 어떻게 활용하는지 는 탐구한다. 예이츠는 민속을 활용하여 자신이 아일랜드인임을 강조하며, 프로테스턴 트교인이면서 중산층 도시민으로서, 아일랜드독립운동에 참여하고자 한다. 아일랜드 농부들의 민속은 보편적 원시종교의 계승이며, 민속과 신비주의는 동일한 곳에서 파생 하다는 것을 보여줌으로써 자신의 아일랜드 정체성을 강조하려는 것이다. 그는 농부들 과 자신이 같은 신비주의적이고 전통적인 신바주의를 공유한다고 강조함으로써 자신 과 농민층과의 연결 짓고 자신의 아일랜드정체성을 갖고자 한다. 문화에 활력을 불어 넣는 예술가로 자처하는 그는, 원시종교의 영항을 보여주는 것 같은 특징을 강조하여 자신과 농산층 사이의 고리를 만듦으로써, 힘을 얻고자 한다.

While there is broad agreement on the importance of an identity-oriented brand understanding and management, there is a high degree of disagreement as regards the definition of the brand identity construct. In the scientific discussion, a definition seems to prevail, in which the brand image that exists among the customers is contrasted with the brand identity which is either only associated with the within the brand company existing picture of the brand (self-image) or at least additionally with the brand’s meaning and goal. Falling back on very different research traditions in the field of the development of an identity theory, it is shown that the construct of brand identity should be understood in a much more comprehensive sense in order to fully unleash its heuristic power. In addition, it seems imperative to take into account that strong brands can become a kind of "personality sui generis", the further development of which cannot only be determined by the company which once brought the brand onto the market. The specific brand identity is much more subject to many social influences involving a huge variety of social actors. Against this background the idea of brand management needs reform, and should be re-conceptualized more in the sense of an attempt to channel all relevant social influences in a targeted manner. In this contribution, a corresponding approach of identity-oriented brand management is presented and illustrated by examples from the fashion sector. This is mainly due to the fact that the identity development of fashion marks depends to a great extent on numerous social influences and influencers.

Physical appearance is the most readily available visual cue in first impression situations and can thus influence the judgments and subsequent behavior of the perciever. Clothing has been singled out by many researchers as a powerful aspect of physical appearance that is highly expressive in nature. However most clothing and first impression studies either have forcefully categorized clothing choices into broad categories (e.g., casual look, sporty look, professional look, etc.) or have been manipulated to best represent the clothing category or self-identity of the wearer. Also, to this day, there has not been any research on the everyday sportswear choices of sports participants and thier communicative aspects. Along these lines, the current study is, based on person perception and social identity theory, an attempt to provide some insight as to the signaling aspects of sportswear as well as how these signals are percieved and interpreted to make first impression judgments by observers. More specifically, the study looks to compare the intentions and human brand personality of sportswear consumers with judgments made by percievers about the social identity, self-identity and personality traits of the wearer in a first impression setting. Repeated Measures of Aanlysis of Variance (ANOVA) was employed to test the differences between self and others perception. Results are discussed, among with the limitations of the study and directions for future research.

The market for luxury is changing with new competitors to the market, more modest growth, and new types of customers (Kim and Ko 2012, Ko, Phau and Aiello 2016) as well as the ubiquity of digital marketing channels (Okonkwo 2009). Moreover, social media has transformed the logic of fashion marketing by providing new ways of engaging, interacting, and connecting with customers (Dhaoui 2014) as well as enabling consumers to participate in branding process (Burman 2010). As a consequence, also luxury brands need to develop experience-based marketing strategies that emphasise interactivity, connectivity and creativity (Atwal and Williams 2009). What is more, despite of growing importance of social media marketing in luxury industry, extant research on the topic still remains quite limited (Ko and Megehee 2012). While the previous studies have well documented the benefits of luxury marketing on social media (Kim and Ko 2012, Kim and Ko 2010, Brogi et al. 2013, Kontu and Vecchi 2014, Godey et al. 2016), and their implications on luxury brand management (Dhaoui 2014, Larraufie and Kourdoughli 2014), and even co-creative marketing practices (Choi, Ko and Kim 2016, Tynan, McKehnie, and Chuon 2010), no studies to this date have looked at co-creation from consumer-perspective. This article provides a novel perspective on luxury branding, by following the resource-based theory of consumer (Arnould, Price and Malshe 2006) to study the brand identity as co-created in social media. To do this, visual frame analysis (Goffman 1974, Luhtakallio 2013) is applied on consumer generated images downloaded from Instagram feed of brand exhibition staged by luxury brand Louis Vuitton. Based on the analysis, a typology of co-created brand identities is proposed. The findings indicate that in the branded exhibitions, consumers co-create brand identity by utilising resources available in the experiential brandscape by taking and posting these objectifications of brand on social media (Presi et al. 2016) and in so doing create symbolic/expressive, and experiential/hedonic value (Tynan et al. 2010). Theoretically, this article provides a novel perspective on luxury brand as co-created and in so doing, demonstrates the dynamics of firm-consumer co-creation. What is more, to extend the emerging stream of visual analysis of luxury (Kim et al. 2016, Freire 2014, Megehee and Spake 2012), an application of novel is demonstrated in the article. Managerially, this explorative study provides new insights on luxury marketing in social media by suggesting that branded experiences should be designed in a manner that engages the consumer to actively use the resources available to them. The financial implications of this shift are also significant as according to McKinsey study, three out of four luxury purchases are influenced by social media (Hope 2016)

A growing number of authors state that in recent years the notion of luxury has become all too common. Many say that authenticity is the real rare good in today’s luxury marketplace. Overwhelmed by the omnipresence of luxury and its homogenization, consumers are said to start looking for the genuine and unique, favoring smaller, more intimate and independent luxury brands. This study looks beyond well-known global players in the luxury marketplace, exploring the identities of independent niche luxury companies, their differentiating characteristics and in particular the role of authenticity. Keywords: corporate identity; corporate image; authenticity; luxury brand management; niche luxury brands; independent luxury brands

Through this study the influencing factors for the development of a national dress for Tanzanian people was explored. The need and desire for this development received support from several groups including the Tanzanian Government, local tailors, NGO’s (Non-Government Organisations) and Tanzanian societies. This stage of the study focused on the effectiveness of traditional Tanzanian textiles’ motifs and natural symbols in the design process employing imported recycled second-hand clothes (mitumba). Qualitative data was obtained through interviews and focus group discussions. The study explored what Tanzanians need to strengthen their national identity and the use of recycled mitumba within a national dress. The study used a co-design style workshop for the development of the national dress as a different approach to addressing the issues identified in Tanzania regarding National dress. The participants added valuable contributions providing ideas for cultural conservation through building a national identity, ideas for strengthening the concept of recycling mitumba and suggestions for the incorporation of kanga and kitenge as inspirations for the design of a national dress in order to promote national identity. The study examined the presence of mitumba from abroad, several styles of indigenous traditional dress worn by different ethnic groups in Tanzania and reasons for strengthening Tanzania’s national identity. This paper reports on the main primary research activities and finding used for the experimental textile and dress designs, and includes the plan for the next stage of the project.

As emphasis has increased on English as an international language and on the globalized image of universities, the number of native English speaker teachers (NETs) has also increased in Korean universities. From the poststructuralist view, teacher identity is constructed through participation in valued activities of the community of practice, and it is not fixed but constantly negotiated through the interaction of the context (Wenger, 1998). While previous studies focused on nonnative English speaker teachers’ identity construction, little attention has been paid to NETs in the EFL context. Considering the need to explore teacher identity from recent theoretical perspectives, the present study investigates how NETs negotiate conflicting identities and construct their teacher identities in the Korean university context. The findings show the NETs constructed multiple identities of an English educator, a collaborative volunteer, a non-tenured instructor, and a cultural and linguistic outsider, and they legitimize their professor identity through their participation in the present and imagined community of competent teachers. The findings support the claim that teacher identity is embedded in the sociocultural context that interacts with the individual agency in making sense of who they are. Implications and suggestions of the study are addressed based on the findings.

The purpose of this study is to consider the relation between the deciding factors of local identity and local image improvement. To achieve this purpose, the deciding factors of local identity have been set as the following four: historical identity, cultural identity, (nature) scenery identity, and industrial identity. The writer has established a model to represent the relation between these factors and the local image improvement, namely 'Visitor Satisfaction' and 'Revisit Intentions', and framed a hypothesis for empirical verification. The study results are as follows: First, the deciding factors of local identity which this study addressed are empirically proven to have a significant effect on the visitor satisfaction and the intention to revisit in which is it likely that the greater the impact of the deciding factors, the higher the visitor satisfaction and revisit intentions would be. Second, the deciding factors of local identity, it appears that the 'historical identity' factor had the largest impact on the visitor satisfaction, and the 'cultural identity' factor had the largest impact on the revisit intentions. Therefore, of the four deciding factors, the 'historical identity' should be considered the highest priority to increase the visitor satisfaction, and the 'cultural identity' should be considered the highest priority to increase the revisit intentions. Third, based on the verification of the relation between the visitor satisfaction and revisit intentions, it can be presumed that the greater the visitor satisfaction, the higher the revisit intentions would be.

글로벌인지도와 지역성고취라는 모순된 미션의 극복을 위해 광주비엔날레의 정책은 구성되고 확장되었으며, 이는 일련의 지역연계프로젝트로 결과 지어졌다. 본고는 2008년 <복덕방프로젝트> 가 보여준 전시와의 유기적 연결에 대한 한계와 현장중심 방법론을 실행한 2016년 <제8기후대>를 중심으로 지역연계프로젝트의 성과와 의미를 분석한다. 이를 통해 지역연계는 본 전시와 경계 지 어져 파편적으로 전개되어서는 성공할 수 없으며, 전시기획과 직결되어 전시개념, 구성과 함께 실 현되어야 함이 증명된다. 더불어, ‘국제현대미술전'이자 도시 이벤트로서 다양한 이해관계가 충돌 하는 광주비엔날레에 있어 지역연계는 비엔날레의 지속성과 차별성에 영향을 끼치고 있으며, 이 에 대한 광주비엔날레 지역연계프로젝트가 지역에 남긴 성과는 긍정적으로 평가됨이 확인된다

This qualitative study, grounded in the sociocultural perspective, attempts to explore a Korean English teacher’s identity construction by employing a self-study, through narrative inquiry. As a self-study, the participant, Sofia, will also be the researcher. Data from her teacher life story narrative and reflective journals were analyzed to see how she reconstructs her identity through reflection of her own experiences. The study revealed four major themes showing the identity formation of the participant: (1) identity formation by resisting identity assumptions or stereotypes; (2) identity formation through influence of context; (3) identity formation through previous learning experiences; and (4) identity formation through conceptualizing teacher as professional. Based on these findings, the present study generates implications for teacher education practice and future research.

본고는 세계적으로 다발성의 이주현상과 관련하여 특히 북미 지역 화인들의 소설 가운데 서도 於梨華의 소설을 집중적으로 다루고 있다. 특히 이주자문학에서 종종 발견되는 개인 혹 은 개인의 정신과 정체성 등의 파편화 현상을 진단하는 것이 그 첫 번째 목적이다. 또 하나 의 목표는 소설에서 빈번히 나타나는 이주자의 공간 해석과 재구성을 진단하게 된다. 이주자 가 상이한 문화권을 오가며 경험하게 되는 문화충격과 적응 혹은 동화 및 이질화의 과정 중 에는 개개인의 정체성에서의 다양한 변화 역시 수반된다. 끊임없이 변화하는 정체성, 이중적 으로 나뉘는 정체성, 혹은 파편화되는 개인의 정체성 등으로 다양하게 살펴볼 수 있을 것이 다. 이주자는 이러한 정체성을 바탕으로 자신의 주변 공간을 해석하게 되고 그 공간 자체의 역사적 사회적, 정치적 배경과는 별개로 자신만의 정체성을 근간으로 하는 공간을 재구성하 게 되는데, 여기서는 위와 같은 두 가지 측면이 소설에서 구현되는 현상을 살펴보게 된다.

The study explores the identity construction of non-regular English conversation teachers (non-RECTs) in an elementary and a middle school in Korea. Drawing on positioning theory and the notion of community of practice, the study illustrates how non-RECTs resist, modify, and reconstruct their teacher identity through positioning themselves and others, and different modes of participation in the school contexts. It is a three-year longitudinal study with two female non-RECTs. The primary data gathered through interviews and informal talks, documents, and e-mails were also included for triangulation purposes. The findings suggest that the non-RECTs self-positioned themselves as qualified teachers who can effectively implement communicative language teaching into the classroom, but their positioning was challenged and rejected by regular teachers. The participants resisted their marginalized positions as temporary instructors and claimed their legitimacy by establishing themselves as positive contributors to the communicative curriculum. The findings show the non-RECTs’ identity construction is a struggle between the different views on legitimacy and a negotiation among multiple and conflicting identities.

최근 중국의 고도들은 역사문화자원을 활용한 문화산업 개발에서 도시발전의 돌파구를 찾 고 있다. 고도 카이펑은, 도시의 공간적 기획과 각종 문화생산물의 결합을 통해 도시 정체성 을 재구성하고 도시 정체성 자체를 경쟁력 있는 문화상품으로 전시하는 새로운 시도를 전개 하고 있다. 카이펑은 ‘문화를 활용한 경제활성화’의 전략을 선택하면서 도시문화 자체를 경쟁 력 있는 콘텐츠로 생산하고 이를 통해 카이펑의 도시 이미지를 긍정적으로 전환해나가고 있 다. 카이펑은 도시 경관과 문화예술을 전면적으로 결합하기 위한 전략으로 청명상하원 등의 공간 기획을 추진하였고 <대송·동경몽화>라는 실경공연 예술을 제작하였다. 청명상하원, <대 송·동경몽화> 등은, 카이펑의 역사문화에서 대표적이고 효과적인 문화기호로 선택되어 도시 의 문화브랜드로 재구성된 것들이다. 카이펑은 이런 문화테마공원과 실경공연을 통해 관광과 문화가 도시 정체성이라는 장(場) 안에서 성공적으로 결합되는 새로운 패러다임의 도시를 만 들어가고 있다. 본 연구에서는 고도 카이펑을 중심으로 각종 문화생산물을 통해 도시 기획과 정체성이 재구성되는 과정을 고찰한다.

이 글은 한설야의 소설 『탑』이 지닌 문학사적 의미를 인물 분석을 통해 드러내고자 기획되었다. 카프 맹 원인 한설야가 현실을 버리고 구한말 어린 소년을 내세워 글쓰기를 한 이유를 작품의 내적 상황에서 밝 히고자 하였다. 내재적 분석을 시도한 결과 『탑』의 중심 코드인 주인공 우길은 여성 인물 계섬과의 관계를 통하여 신분제의 해체를 겪고, 아버지 박진사와의 갈등을 통하여 정체성을 확립하는 계기를 맞는다. 그러나 이런 인물 관계의 분기점은 지속적으로 유보되어서 결말 부분에 이르러서야 표면화된다. 이를 『탑』의 열린 결말이라고 보았다. 그러는 동안 소설 『탑』은 가족사 속에서 가라져 가는 풍속과 가치 문화 를 병렬 구조로 제시한다. 이는 한설야의 작가적 암중모색의 과정에 해당한다. 본고는 『탑』을 1930년대 창작방법이나 장편소설론 속에서 탐색하지 않았다. 『탑』에 대한 더 적합한 논의는 1940년대 한국 문학 의 전체적 조망(외재 분석을 추가하는) 속에서 가능할 것이다.

The migratory locust, Locusta migratoria, is one of the famous insect pests in the world. Although the species reveals several morphological variations, it is largely divided into two lineages, Southern (Africa, Southern Europe, Southern Asia, and Australian) and Northern (East Asia, Eurasian continent). In 2014, a large number of L. migratoria nymphs with red-brown color were suddenly occurred in the southern region (Haenam-gun, Jeollanam-do), Korea. In this study, mitochondrial COI sequences were analyzed to recognize the genetic identity of L. migratoria with nymph or adult samples collected from 9 localities in Korea. The analysis results reveal that all individuals are belonging to the Northern lineage.

본 연구의 목적은 교정공무원의 직업정체성이 직업안녕감에 미치는 영향을 규명하는 것이다. 연구를 위해, 전국 9개 교정시설에 재직 중인 교정공무원 531명을 대상으로 조사하였으며, SPSS 통계프로그램을 이용하여 일원배치분산(ANOVA)과 T-검정, 다중회귀분석을 실시하였다. 연구결과는 다음과 같다. 첫째, 교정공무원의 직업정체성은 대체적으로 미혼보다는 기혼이, 연령과 근무경력이 많을수록, 직급이 높을수록 높은 것으로 나타났다. 둘째, 교정공무원의 직업안녕감은 대체적으로, 미혼보다는 기혼이, 연령과 근무경력이 많을수록, 직급이 높을수록, 보안관련 부서보다는 사무관련 부서가 높은 것으로 나타났다. 셋째, 교정공무원의 직업정체성과 직업안녕감은 유의미한 정적 상관관계가 있는 것으로 나타났다. 넷째, 교정공무원의 직업정체성은 직업안녕감에 유의미한 정적 영향을 미치는 것으로 나타났다.

Over the past two decades, consumer moralism, or moralism about consumption in a broad sense, has received much academic attention in answer to the growing concern for fair-trade, corporate social responsibility, environmental sustainability, and other anti-consumption initiatives and movements (McGregor, 2006; Newholm and Shaw, 2007). This theoretical trajectory not only pay attention to how everyday consumption practice is shaped by and help shape certain sorts of ethical dispositions (Clive et al., 2005), but it also extends to the understanding of the intertwined relationship between morality, consumption, and consumers’ identity narratives (Thompson, 2011). While previous research has focused on understanding moral consumption as a politically and morally motivated collective practice (Luedicke et al., 2010; Thompson, 2007), limited research has been done on revealing how personal moral identity project institutionalize and contest the socio-cultural power structure through ascribing social meanings in consumption practice to legitimatize seemingly unethical behavior in the marketplace (Brace-Govan and Binary, 2010). This research concerned the creation and negotiation of moralistic identities among a group of young consumers in Hong Kong who engaged in counterfeit consumption. We focused on how consumers strategically appropriate moralistic meanings in their everyday counterfeit consumption, in which their identity work utilized these ‘alternative’ market resources to echoed with, or even reproduce, the entrenched Chinses social relationships and marketplace ideological conditions (Giesler and Veresiu, 2014; Luedicke et al., 2010).

Fashion has become a major thing worldwide. In Indonesia, especially in big cities like Jakarta, Bandung and Surabaya, fashion is quite evolving. Jakarta is a bustling modern city with international interaction and professional working environment. This atmosphere influences the inhabitants to dress in modern, professional look; as fashion may be seen as visible identity for a person. As a country with more than 300 tribes, Indonesia is also very rich in culture (Tamindael, 2011). Each area has its own traditional clothes, house, food, custom, art, and language. In big cities, those cultural differences have somewhat blend together or rather invisible in the capital city of Jakarta. Despite the modern environment, traditional clothing and religious clothing tried to get substantial segment as well. However, cultural or traditional costume seem to face the adversity to stand out. Traditional costume can be seen as an identity for a country or specific culture. Like Kimono in Japan or Sari in India, Indonesia actually has kebaya as national costume for women. Kebaya is actually a tight fitting blouse known as originated from Java. Nowadays, with the many modern women seems to wear kebaya only for special occasion, such as wedding reception, national day, or official ceremony. As it was meant for special moment, the kebaya these days are more elaborated, mostly adorned with embroidery and glittery embellishment. Still, whether modest or modern, kebaya is perceived as complicated, out-of-date, and inflexible. This national costume might face the threat of extinction, although the rise of patrimonial awareness made kebaya get more attention these days. Despite kebaya has been appointed as national costume for Indonesian women, many of them, especially youngsters, seem reluctant to wear it in many occasion. This phenomenon evokes the need for research, how Indonesian youngsters perceived the kebaya as national identity? This research will relate the brand identity with kebaya. Kebaya itself may be considered as a brand, attached to Indonesia as a country. Within the brand identity framework, kebaya would be seen as a brand. However, a brand should be known among its target and how the people or target consumers perceive it. As an initial research, this paper aimed to explore how youngsters in Indonesia perceived kebaya as national outfit. This research will rely on theories about branding. Kebaya is actually a product. However, the term of kebaya can be considered as a brand in the context of Indonesian national costume. This research measures the brand identity and brand imagery within the theory of brand identity from from Aaker (1996) and Keller (2013). The brand identity will be measured using the indicators of brand awareness, and the brand meaning will be measured using the brand associations. The survey has been conducted to 30 youngsters, from 17 to 25 years old. Whereas two interviews have also been conducted to a founder of Perempuan Berkebaya (Women in kebaya) community and a bussinesswoman who start to wear kebaya everyday. To raise the awareness of kebaya, this community has made some efforts. There was some news coverage on the national medias and outdoor events to show that kebaya is suitable for any occassion. As this research will explore how these young ladies perceived the kebaya, most of them can be assumed to be aware of kebaya. However, they might have different perception and comprehension about it. All of the respondents from the survey claimed they the national costume of Indonesia. However, the answer were varies when they recall the object. Batik is also mentioned alongside with kebaya. Many people are more accustomed to wear batik clothes, as it can be transformed into different kinds of outfit, such as shirt or dress. Athough all respondents agree for kebaya to be one of national identity, most of them claimed kebaya is not suitable for everyday wear. They argued that kebaya is impractical, and not convenient for day-to-day activities. Some of them believed kebaya is only for wedding or other special occasions, thus will lessen their exclusivity or prestige if they wear it everyday. The second part of the questionnaire is about the association; how kebaya as a brand would match or associate to certain group of user, usage situation, experience, and values. Many people seen women wearing kebaya in rural areas, worn by grandmothers and door-to-door jamu (herbal drink) sellers, thus have an ancient or traditional look. This is in line with result from the survey. This kind of association is actually in contrast to the image of kebaya for special occasion. Thus, to outsmart the out-of-date association, many modern women avoid humble kebaya to wear in many occasions; they rather opt for more expensive kebaya to wear at special events. How the youngsters perceive may be arguable. They see kebaya as something unique which they don’t see, let alone wear it, every day. This explain how they value kebaya as an exclusive outfit that may elevate the look of the wearer. The excuses whether to wear or not-to-wear kebaya as daily outfit seems endless. There may be a slight hesitation toward the kebaya which associated to old fashion or outdated, but some would opt for modern cut of kebaya. In the end, kebaya should build strong image as national identity; where every Indonesian women, no matter their age nor social class, will be proud to wear it.