Global fashion houses have recently incorporated traditional Korean motifs within their inspiration. This trend is an opportunity to showcase the colors of traditional Korean culture by investing in the new design content. Products specifically based on traditional Korean culture are lacking in brand awareness despite the success of Korean content. Accordingly, this study designs cultural products based on Korean folk painting that captures Korean people’s satirical sense of humor. Korean folk painting theories are analyzed, from which different types of folk paintings are classified based on research of bibliographies and online documents. Following classification, the results are dataized as different types of folk paintings and their meanings. Furthermore, images of folk paintings are categorized and scanned digitally. The digitized images of the folk paintings are processed through Adobe Photoshop CS for overall layout and Adobe Illustrator CS for detailed designs. Traditional categories of Korean folk paintings are used, including flowers and birds, letters, and study stationery. Using the main elements of the flower and birds category, designs with cultural products such as images of flowers, birds, animals, and fish are produced. The final designs are used to create fashion items that can easily be used for embellishment or self-presentation: a scarf and a necktie. The scarf and the necktie are not only merchandise; they also symbolize the story, humor, and hope that Korean folk paintings once symbolized.

As a plan for establishing Korea's cultural identity and its competitive edge in the world market and for enhancing Korea’s cultural status, creative and unique high value-added cultural products need to be developed utilizing our inherent cultural assets. Accordingly, this study focused on the development of the design of fashion cultural products that utilize the convergence of Hangeul our peculiar font style and Korea's cultural heritage, which is registered as part of UNESCO’s World Heritage. A design method was devised that converges archetypal images of cultural property with the unique Hangeul font in a way that targets Korea's symbolic architectures. The symbolic architecture includes Korea’s world-heritage pagoda architecture, such as Seokgatap pagoda and Dabotap pagoda at Bulguksa temple. It also included the architecture of royal palace, such as Injeongjeon hall at Changdeokgung palace. Finally, it also included the architecture of the fortress wall, such as Paldalmun gate in Hwaseong fortress. Thus, by developing cultural assets made from a convergence between architecture and the Hangeul font as a consumer-product image that has universality, the possibility of cultural products was pursued by applying color planning after an analysis that involved extracting the compositional colors of the flags of the world. This research and approach will lead to opportunities for further progress for Korea's cultural products in the global market as a results of additional recognition for their value, excellence, and universal appeal.

The concept of „Sustainability‟ has become as major concern and it used by consumers and corporations to convey the concept of taking care of the environment. Environmental concern has led to sustainable consumption in a variety of product categories, such as electricity, textiles, apparel, food, and grocery products (Chan, 2001; Harrison, Newholm, & Shaw, 2005; Vermeir & Verbeke, 2006a, 2006b). Interest of the negative environmental impacts are rapidly increasing in present fashion business and consumer behavior has become a rising concern of the consumption and fashion supply chain to apply sustainable consumption (Birtwistle & Moore, 2007; Fineman, 2001). The environmental and social concern recognized in fashion industry from 1990‟s. However, the complexity of conceptual definition of sustainability and ecologically responsible consumer generates different and mistaken perception to consumer. In addition, in fashion industry, the terms of „eco-fashion‟, „environmentally friendly fashion‟,„green fashion‟, „ethical fashion‟, and „sustainable fashion‟ are frequently used interchangeably to describe the same concept. These interchangeable terminology is leading to confusion of the readers by the non-unified terminology (Choi et al., 2012). Also, consumers seem to have narrow scope and little understanding of sustainable fashion. In general, consumers focuses on environmental aspect not the wide-range of complexity of environment, social, and economical concern (Cervellon, Hjerth, Ricard, & Carey, 2010). The growing number of fashion brands are leveraging on green branding initiatives. Green marketing is increasing rapidly in corporate aspects and for a consumer perspective, global consumers are recognizing a personal accountability to take responsibility for social and environmental issues. Despite the fact many of individuals‟ willingness to purchase green products has increased in the last few years, however, there is limited studies suggest that purchase of green or sustainable products. Consumer research on sustainable fashion has mainly focused on consumer behaviors towards sustainable fashion products (SFPs); however, relevant studies that examined the whole process of the predicting proenvironmental behavior cross nationally value and the eWOM are still scarce. The purposes of research model are 1) to identify the determinants of eWOM intention on consumers' purchase intentions, 2) to examine the information adoption process as precursors of purchase intention of sustainable fashion, and 3) to testify different message types effects to information adoption process.

Traditional culture could be a wonderful source of inspiration for creative design. Tteoksal, the stamps used for making decorative patterns on traditional rice-cakes, have been used and passed on to generations to show the emotions of our ancestors. Numerous traditional patterns found in Tteoksal can be used to better understand and transmit tradition in modern ways. The purpose of this study was to develop fashion cultural products with a modern sensibility by understanding the origin, types and characteristics of Tteoksal and its patterns. The method of this study was through considering the proceeding studies and the references published by a specialist and museums having some information about further knowledge on Tteoksal. In line with the aforementioned study, neckties, eco-friendly bags and pouches were developed as fashion goods. Among the Tteoksal's patterns selected were lotus, bats, 樂letters and complex patterns. Using a computer graphic software program such as Adobe Illustrator CS5, archetypes of patterns were traced as vector graphics, and two design motives were developed in every pattern. The patterns were developed into two types: one was a basic pattern faithful to a basic motive pattern, and the other was a varied type that was changed and applied. The fashion products were developed as two styles for basic and varied patterns for neckties, eco-friendly bags and pouch items. Twelve products were made for each pattern, which totals 48 unique products. In conclusion, the study could be a critical step to better understand the traditional culture and its influence to the patterns applied to modern fashion design.

This study attempted to understand the value of traditional floral wall patterns reflecting the distinct aesthetic consciousness of Korean people and reinterpret the images of floral wall patterns in simplified forms. In addition, the study created new floral patterns to apply them to the design of neckties and scarves. In a methodological aspect, the computer design software programs Adobe Illustrator CS2 and Adobe Photoshop CS2 were used to make the traditional floral wall patterns motifs. Four basic motifs for a new formative image were set using graphical functions such as omitting, simplifying, overlapping, repeating, and/or reducing shapes based on floral wall patterns, and each motif was developed in two variations with different colors applied to them. Each of the set motifs was expressed in a repeated arrangement and in a modified pattern of 45 degrees. Necktie design with a floral wall pattern made use of the motifs developed through a variety of effects such as simplification, repetition, size variation, and gradation and the pattern modified at a 45°for application. Scarf design employed and applied the existing motifs in an appropriate manner for design purposes and reconstructed and expressed them through such effects as repetition, rotation, compositional variation and gradation.