Pattern motif sources and their visual interpretations Source Nature Plants Insects Animal Com- Com- Man- Imagi- Symbol Others Total Interpre- Flower Other. marine Reptiles bined bined made nation tation organism 148(48.4%) 53(17.3%) 18(5.9%) 42(13.7%) 29(9.5%) 4(1.3%) 12(3.9%) 0 0 0 306(100.0%) Realistic 43.8(%) (29.1%) (51.4%) (45.7%) (36.7%) (2.6%) (33.3%) (22.0%) 175(39.1%) 127(28.3%) 17(3.8%) 49(10.9%) 24(5.4%) 23(5.1%) 5(1.1%) 10(2.2%) 9(2.0%) 9(2.0%) 448(100.0%) Stylized (51.8%) (69.8%) (48.6%) (53.2%) (30.4%) (14.7%) (13.9%) (2.5%) (34.6%) (18.8%) (32.1%) 0 0 0 0 0 13(7.0%) 9(4.9%) 123(66.8%) 7(3.8%) 32(17.4%) 184(100.0%) Abstract (8.3%) (25.0%) (30.4%) (26.9%) (66.7%) (13.2%) 0 0 0 0 0 9(3.2%) 6(2.1%) 258(92.1%) 5(1.8%) 2(0.7%) 280(100.0%) Geometric (5.8%) 16.7(%) (63.9%) (19.2%) (4.2%) (20.1%) 15(8.6%) 2(1.1%) 0 1(0.6%) 26(14.9%) 104(59.4%) 4(2.2%) 13(7.4%) 5(2.9%) 5(2.9%) 175(100.0%) Mixed (4.4%) (1.1%) (1.1%) (32.9%) 66.7(%) (11.1%) (3.2%) (19.2%) (10.4%) (%)12.5 0 0 0 0 0 3(100.0%) 0 0 0 0 3(100.0%) Others (1.9%) (0.2%) 338(24.2%) 182(13.0%) 35(2.5%) 92(6.6%) 79(5.7%) 156(11.2%) 36(2.6%) 404(28.9%) 26(1.9%) 48(3.4%) 1396(100.0%) Total (100.0%) (100.0%) (100.0%) (100.0%) (100.0%) (100.0%) (100.0%) (100.0%) (100.0%) (100.0%) (100.0%) In motifs from imagination and symbol and the other types could not be identified the original visual resource, no realistic interpretation method used. In man-made motif sources, five types of interpretations were appeared and all of six interpretations were used for combined motif sources.
4.Conclusion.
Total 1396 of pattern designs which appeared the 'Collections' of three major fashion centers from 2011 SS to 2012 SS has been examined to identify the characteristics of printed patterns in fashion design, mainly focuses on the motif source & the way of its visual presentation. As a result, sources of printed pattern motifs were classified into six main types. Natural motifs were appeared the most and followed by imagination, combination, the others which could not classify into any category of motif, man-made, and symbol. In the representation way of pattern motif, stylized interpretation showed the most, and followed by realistic, geometric, abstract, mixed, and the others. The total number of pattern designs which appeared in each collection was different. The general aspect of using motif sources and interpretation was little different from each collection, specially showed big difference in N.Y comparing with other two cities. According to the source of pattern motifs, different type of interpretation was used. With these results, we may understand that each collection demonstrates its own way of using and presenting pattern motifs according to its characteristics. Also, nature motifs, especially flowers, have been the most popular object which constantly provides the inspiration of pattern design through the ages. The different type of interpretation was applied depending on the motif source and it presents a variety of visual pleasure in fashion design. `
94 References
• M.L.Marian(1996).Visual design in dress, 3rd ed., Prentice Hall. • Newall, Diana & Unwin, Christina(2011). The Chronology of Pattern: Pattern in Art from Lotus Flower to Flower Power, PLC: U.K. • Geometric Pattern, Pattern Design Terms Defined and Illustrated, Artlandia, Glossary of pattern design, Retrieved on 2 May 2013 from http://www.artlandia.com/wonderland/glossary/GeometricPattern.html • Head-to-toe Prints, Vogue, Retrieved on 5 May 2013 from http://www.vogue.co.uk/fashion/trends/2012-spring-summer/top-to-toe-print • Motif, wikipedia, Retrieved on 1 May 2013 from http://en.wikipedia.org/wiki/Motif • ‘Pattern: combination of motifs’, Retrieved on 1 May 2013 from http://www.seemydesign.com/livingroom/elementsideas/designelements/pattern • Mudi, Aparna(2012), Fashion Trends, SS 2012 (Prints, Fabric, Color Palette, Looks etc), Posted 24th February 2012 , Retrieved on 2 May 2013 from http://rivista- moda.blogspot.kr/2012/02/i-am-little-late-this-season-to-write.html#!/2012/02/i-am-little-late-this- season-to-write.html • Pattern Design Terms Defined and Illustrated, Artlandia, Glossary of pattern design, Retrieved on 2 May 2013 from http://www.artlandia.com/wonderland/glossary/AlloverPattern.html • Textile printing , wikipedia , Retrieved on 2 May 2013 from http://en.wikipedia.org/wiki/Textile_printing • ‘Walk the line’, Vogue, Retrieved on 1 May 2013 http://www.vogue.co.uk/fashion/trends/2013-spring- summer/walk-the-line
95 D2
Characteristics of Shirt Design in the Modern Women Fashion
† Sun Young Kim Dept. of Fashion Design, Sunchon National University, Korea
In the postmodernism culture today that characterizes the modern society, two genders as male and female show the changed image and extended identity of sex beyond the dichotomous and regular concept according to their subject diversity. Among the various men's clothes, the dress shirt worn inside the suit or jacket these days is a necessity and it is put on as outer wear out of the earlier inner wear concept, featuring many colors and patterns. The gender boundary in modern fashion is dissolved and the unique design and the personal expression are more stressed rather than symbolic value in sex. Thanks to this, dress shirt is also being developed in the female fashion in the various and creative ways of design. This study looked into the formative change in shirt design based on the modern woman fashion and the expressive characteristics and through which this work aimed at assistance in many possible design alternatives and high value-added products for the future. For the research method, literature on shirt was reviewed and empirical analysis was performed about 192 pieces of white shirt design exhibited in the four major collections of Paris, Milan, New York and London from 2006S/S through 2011S/S. Pictures were taken from an internet collection site, www.style.com, for available material. In case of the identical design, such a collection magazine was referred to as GAP Press, Mode & Mode and Fashion News for the exact analysis.
Shirt, which was used for underwear or inner wear after medieval times, is referred to the wear with collar, cuff, and straightening accessory in general and dress type for man and blouse type for woman are typical. Depending on its usage, it is largely grouped into formal shirt, dress shirt, and casual shirt. It also varies from collarless form and short sleeve to collar form and long sleeve according to design mode. Formal shirt is the ceremonial shirt, in other words, a wing collar shirt put on together with morning coat or tail coat, which includes the tuxedo shirt with pleats and frills added. Dress shirt was originally male tuxedo or dressy ceremonial one under tail coat and meant those added with pleat, tuck, or ruffle in the chest. But now, it stands for the one that goes with necktie on the whole. Casual shirt is the generic name for the ones except for formal shirt and dress shirt. This belongs to those of many other purposes including aloha shirts, open shirt, T-shirt, and polo shirt that usually need no necktie as well as the existing kinds for sport or leisure designed for practicality and functionality.
Designing characteristic of dress shirt lies mainly in collar, front body, and sleeve. In addition, various types can be made, depending upon collar or collarless and attached status, sleeve length, cuff ornament, and shirt length. Therefore, the analytic design criteria was unified with white shirt, which is the basis for shirt and shows the classical image. Also, the material was not taken into consideration as it was hard to be differentiated in picture but the component characterizing the shirt design shape was divided into collar, front body, straightening and sleeve length.
Following are the results from the research. In the form of collar, the regular shape was the most common and its shape appeared variously through the height or wedged degree in neckline band and the asymmetrical form. In the body trunk design, the different designs were characterized through the
† [email protected]
96 front body ornaments such as embroidery or collage, frill or gathers, drape and pintuck and the change of placket form. In the sleeve design, diverse sizes showed from sleeveless design to extremely long shape or flexible length with tap for free change. Other changes also appeared including destructive design that overrides the existing formative structure, change in size and length of cuff, and ornamental add-ons. In the length of shirt, variety was also indicated which includes the short shape of chest line, long shape up to bottom, and asymmetrical shape of front-to-back or left-to-right. Mixed shapes in bottom line were seen, which include straight style, round style, and ornamental attachment of details.
Characteristics of shirt design from this formative change appeared as bisexual expression through change in sexual image and as beauty of structural dissolution, thus making it possible to provide an endless changeability for shirt design. First, this gives the expression of bisexual image. A simple design of shirt without ornament is the temperate expression, which reminds of masculinity but also shows bisexuality with a mixed image of both manly and womanly values by being put on the woman's body. This indicates a great deal of weight on feministic value rather than emphasis on masculine image. Such an expression could be denotation of strong image like masculine confidence and independence by acceptance of men's clothing item without loss of feministic feature unique in women. Second, this gives the beauty of structural dissolution. This gets out of the existing pattern of a balanced beauty of bilateral symmetry. Instead, it provides an unlimited potentiality in shirt design through asymmetrical straightening structure or design format, deconstructive dissolution form beyond the formative structure, brand-new formativeness with a combination of multiple items and so forth.
The shirt worn as an underwear for both man and woman in the old times became important in the latter days for man and was considered as exclusive thing for men and used for body protection, frame of outer wear, and cleanness purpose. However, in the modern fashion, it is being emerged as part of outer wear regardless of gender in the various designs. It was found through this study that white shirt, which was seen as a practical function and a symbolic connotation for stratified social status into white collar and blue collar, is a way of expression for creative formative beauty and personality via diverse changeable formation in design for today's female fashion instead of previous symbol. Thanks to the idea freed from dichotomous sexual concept and the open design, it is thought that an unlimited development would be available for fashion design in the future. Hopefully, through this result, many more ideas would be taken for the ongoing development of shirt design and related high value-added product.
97 D3
A Study on the Deconstruction of Perspective in Fashion Illustration
Soon Ja Kim Department of Fashion Design, Sangmyung University, Korea
Our perception of time and space is not fixed but varies diversely depending on changes in history and environment. Expansion of knowledge and advancement in science and technology significantly affected our perception of time and space. Changes in culture, industrial structure and awareness in modern society due to the influence of postmodernism and expansion of expression techniques in painting utilizing digital technology have given rise to numerous changes in the expression of fashion images in fashion illustration. By utilizing digital media actively, fashion illustration has come to go beyond the limitation on conventional expression by hands. At the same time, hand-painted pictures without recourse to computers have broken away from expressions through classical perspective, creating techniques of diverse space expressions under the influence of digital techniques. This study aims to examine the phenomenon of dismantling representational perspective in the expression of space in fashion illustration, and proposes to analyze a variety of space expressions and effects of visual expression in fashion illustration based on the findings of the study. By way of literature research for the study, theoretical data about what perspective is all about were examined, basic concepts of perspective in the age of Renaissance in the 15th century, basic concepts, traits and examples of visual expression of perspective in the age of modernism and digital age when perspective was dismantled were presented. By way of an empirical study, fashion illustrations that represent the perspective dismantling phenomenon were classified and analyzed by type, and traits and image effects of such expressions were presented. Perspective, used in arts after Renaissance, refers to a natural perspective. Such a perspective was created in the form of a linear perspective by Leonardo Da Vinci in the second half of the 15th century. In a linear perspective, a traditional one, is based on the fact that the farther the object is from the observer, the parallel lines look as if they converge, and it looks as if it is getting smaller. With the turn of the 20th century, emergence of photography and movies as new media has made the world that is viewed through cameras and that is seen by man's eyes look different from each other. The perspective, a system of single point of view has transformed itself into a visual system of multiple points of view, taking shape as a point of view separated from the body. Emergence of photography and movies enabled us to experience points of view through a mechanical eye instead of a physical eye. It is not until then that a human eye is able to see objects in a dispersed perceptive manner in the way a camera does, breaking away from a physical eye. Cubist and Dadaists have dismantled realistic perspective spaces in their works of art, and restructured spaces by means of continuity of multiple points of view and continuity of time and motion. Cubism sought to perceive objects simultaneously from all aspects, namely, from above, beneath, inside and outside by observing objects from various standpoints and dismantling them, and expressed a 4-dimensional world where time and space are added. Photo-montages invented by Dadaists dismantled fixed norms for perspective, and introduced a space system of dynamism and multiple points of view that go with a mechanical age. For constructionist painters as well, photography was a revolutionary visual tool with which to express the screen where perspective is gone. At the same time, it introduced a new world through various points of view by newly perceiving a world never known before beyond man's visual perception. Expression of space by means of digital technology has transformed itself into a multiple structure. Images located in multiple spaces constitute a multiple points of view in forms differing from one 98 another. Such spaces are realizing decentralized spatial expressions where the entity itself as a center has disappeared. Moreover, moving images of movies constitute a panoramic point of view, affecting visual art. Movies make it possible to construct and connect space and time freely by camera's movement and editing. Ready changes in the sensation of space and time in such movies make homogeneous and equivalent concept of space waver, making panoramic visual conditions in endless motion. A media environment by digital images is created in a level of virtual spaces where space and time have been dismantled. Accordingly, we go through instant experiences by visual perception in a virtual space where images have come to exist. That is, we interpret images in a perceptive manner provided with a visual tactile sense. Changes in the concept of space affected by digital media show themselves in the form of dismantled central point of view and panoramic formation of visual senses. Such changes in the concept of a space are found in the expression of a space in fashion illustration, coming up with particularity visually unfamiliar to us by expressing objects in ways running counter to the fact we perceive about the space. Multiple spaces in fashion illustration find expression in the form of expression of spaces by means of image projection, hybridization and fragmentation of images. The expression of spaces by image projection and overlapping makes it difficult to fathom the depth of the space by means of perspective through overlapping of transparent images of the object. Image hybridization where irrelevant images are arrayed in a hybridized manner makes it impossible to identify traits of spaces by perspective, and causes the observer to link images horizontally and vertically with each other, thus inducing the observer to invent and understand subjective and diverse stories. Fragmentation of images destroys materiality of the object, and combines fragmented elements by casual combination. Distorted images are perceived subconsciously by means of casual combination and the space by such combination is created into a multiple space. While, on the plane dispersed in non-linear ways, points of view are dismantled, which makes central points of view insignificant, fragmented images that have been cut out are expanded into a new meaning transformed from the original meaning. A panoramic expression is a way of expressing objects so that changes in time can be seen on a single screen. This causes an optical illusion due to movement of eyes by showing changes in continuous movements in a single space as a result of gradual expansion of the same figure and elapse of time. In addition, it expresses elapse of time, which is impossible to express in a single photograph, which suggests that all objects are not seen at once, but are seen while going through time sequence, thus alluding to the observer's compound experiences as well. Moreover, it shows locations and movements in a space as a result of movements of the object as the eye moves along. The panoramic view shows elapse of time while drawing the observer to the inside of the space according to the moving focus. Changes in media have changed the entire paradigm rather than mere evolution of tools, and directing and technical perception by means of photography and images moving in the movies constitute dispersive panoramic perception, thus giving rise to expansion of the visual domain. Fashion illustration expresses visual confusion or fantasy rather than creating realistic spaces that have utilized reasonable perspective based on visual experience. Fashion illustration is moving toward a traitwith disharmony and an in-depth visionary space by overlapping or mixing spaces differing from each other, and by means of such peculiar and unrealistic expressions, unfamiliar images are created. This means breaking away from conventional compositions which constitutes the fashion illustrationfocusing on the dressed body, which means openness of space is highly valued, and that new expressions are created by free thoughts. Such findings indicate that traits showing changes in visual concepts in the digital age are finding expression in fashion illustration as well in a diverse manner. Accordingly, this shows that changes in visual concepts are causing changes in fashion illustration as a means of fashion images and visual 99 communication. Furthermore, they show that space expression techniques in fashion illustration reflect cultural idea and awareness of formative arts of the age concerned.
100 D4
A Study on the Grotesque in Modern Fashion
* ** Sun-Young Park ․ Jeong-Mee Kim * Division of Design, Busan Kyungsang College, Korea **Dept. of Fashion Design, Pukyong National University, Korea
1. Purpose of study
The purpose of this study is to research the concept and characteristics of ‘grotesque,’ which is considered a valuable and interesting topic to discuss rather than negative and fragmentary, in each period of time, examine the aesthetic characteristics of grotesque reflected in arts and dress, and analyze its formative characteristics and aesthetic values in modern fashions.
2. Methodology
The methodology for this study consists of literature review and case study. The detailed process of this study is as follows: first, literature review is refered to the books, previous studies, online data in relation to aesthetics, dress, and grotesque in order to address the concept and characteristics as well as the aesthetic features of grotesque. The scope of the study is from the age of the Renaissance, when the term, ‘grotesque,’ emerged, to the 20th century. Next, a case study followed based on GAP, a fashion magazine, and style.com, a fashion website, which represented grotesque dresses, in order to analyze the formative characteristics and aesthetic values of grotesque in modern fashions. The study covers London, Paris, Milan, and New York collections from 2000/2001 F/W to 2013 S/S, and focuses on photos that state terms extracted from the documentary research such as grotesque, fear, outrageous, abnormal, unreality, ridiculous, and disgust in collecting related fashion items.
3. Results
1) Grotesque indicates a mysterious or fantastic representation in a confusing, distorted formation, demolition of the order of reality due to conflicts among inconsistent elements, and a familiar world turning to be unacquainted, which results in shock, perplexing, frightening, ridicule, and so forth. The major features of grotesque include terror, abnormality, unreality, amusement, and disgust. 2) The aesthetic characteristics of grotesque reflected in arts are as follows: Renaissance Art represented abnormality, unreality, amusement, and terror by tangled patterns of various images, caricature, holy pictures, and depiction of farmers’ life, and Mannerism by mysterious humans, distorted religious paints, and so forth. Romanticism represented such elements by fantasy, combination of paintings, impressive colors, etc, Symbolism by expression of internal factors, unrealistic, amusing motif, femme fatale image, etc, and Expressionism by such themes as expression of internal factors, addressing social issues, and so forth. Surrealism represented unreality, terror, abnormality, and disgust by combining living things and lifeless things and time and space. 3) Aesthetic features of grotesque reflected in dress are as follows: Renaissance style represented abnormality and amusement by using exaggerated silhouette and details, and Baroque style by using exaggerated silhouette, accessories, trimming, and so forth. Rococo style represented abnormality and amusement by using extreme silhouette, excessive decoration, and accessories, and the dress in the Period of Napoleon 1 presented abnormality through incroyables and merveilleuse. The age of the Restoration represented abnormality and amusement by using X-form silhouette, exaggerated details, 101 and so forth, and the Period of Napoléon Ⅲ presented abnormality through crinoline silhouette. In the late 19th century, bustle silhouette and atypical silhouette were used to represent abnormality, unreality, terror, and disgust. The dress in the 1930’s used the surrealist style, that in the 1960’s hippies, extraordinary materials, pop art, op art fashion, etc to represent unreality, abnormality, and amusement respectively. The dress in the 1970’s adopted the glam rock style, punk look, future- oriented fashion, and so forth to represent abnormality, unreality, disgust, and terror. The dress in the 1980’s adopted eclecticism, androgynous· kitch look, surrealists’ dress, and unique silhouette to represent amusement, abnormality, and unreality, while that in the 1990’s used grunge look, ethnic look, and cyber look to represent abnormality, unreality, and terror. 4) As a result of analyzing the formative characteristics and aesthetic values of grotesque reflected in the collection from 2000/2001 F/W to 2013 S/S, it turned out that the nature of terror was implied in dresses of Alexander Mcqueen and Boudicca, suits of Christian Dior, suits of Junya Watanabe, and outers and dresses of Viktor & Rolf, which indicate pain, death, oppression, and alienation. Abnormality was shown in dress of Alexander McQueen, the atypical silhouette suit of John Galliano, Junya Watanabe’s dress decorated with the extreme ruff, Thom Browne’s suit of abnormal proportion, and the exaggerated silhouette dress of Victor & Rolf, which indicate unnaturalness, norm, desire for new things, derision, etc. Unreality was reflected in the unique silhouette dress of Alexander Mcqueen, the architectural silhouette dress of Gareth Pugh, Mermaid Silhouette dress of Giles, the surreal suit of Castelbajac, and the unrealistic dress of Victor & Rolf, which indicate yearning and fear of an unknown world. Amusement was represented in the dramatic silhouette dress of Alexander Mcqueen, the amusing suit of Gareth Pugh, John Galliano’s dress of sexual perversion, infant-like pants suits of Meadham Kirchhoff, the hybrid image suit of Tom Brown, and exaggerated details of Victor & Rolf, which indicate non-purposefulness, freedom· incitement, and sarcasm. Disgust was reflected in the asymmetric dress of Comme des Garcos, the disordered cutting detail dress of Mario Schwab, the decadent dress of Thierry Mugler, Tom Brown’s dress, Undercove’s suit, and the ensemble of shocking details, which indicate disgust, disease, violence, sexual indulgence, and so forth.
4. Conclusion
In this study, grotesque is considered a valuable and interesting topic to discuss beyond the negative connotations of the past. And despite the fact that there is a fundamental difference between art and dress, they have common aesthetic value such as terror, abnormality, unreality, amusement, and disgust. And formative characteristics in the modern fashion are used as an effective tool to express designer's will.
References
1) Philip, T. (1986). Grotesque (Y. M. Kim, Trans.). Seoul: Seoul National University Press.(Original work published 1972) 2) Harold, K. (2001). Extreme Beauty: The Body Transformed. New York: The Metropolitan Museum of Art 3) Kim, S. Y. (2008). The Grotesque in the Work of Alexander McQueen. The Korean Society of Costume, 58(8), 106-119.
102 D5
Comparison between Gender Preferences in Pattern Design Appeared in Korea’s Street Fashion
Chanju Kim Dept. of Fashion Industry, Incheon University, Korea
Patterns contain colors, lines, and shapes that altogether exhibit powerful visual effect and display individuality and character to ones who see them. Street fashion is an important source of the public’s taste in fashion and thus helps to understand trend acceptance, individuality, and aesthetic sense in totality. This study investigates use of patterns among Korean men’s and women’s street fashion, analyzes them into expression styles, pattern types, and arrangement styles, and then compares the gender preference of patterns over seasons and occasions. For data collection, two websites with high search rankings among native street fashion sites www.hiphopper.co.kr and www.musinsa.co.kr were selected. Among the outfits introduced in 2011 and 2012, only the outfits with patterns were considered and grouped into men’s and women’s, collecting 641 men’s data and 552 women’s data, 1193 data in total. For data analysis, patterned outfits were separated into three clothing types –outerwear, tops, bottoms, and dresses (for women only)– and then were examined further by expression styles, pattern types, and arrangement styles. They were categorized further by S/S and F/W for comparing difference due to season. At each stage of analysis, frequency and percentage of each data group were acquired, identifying the statistical meaning by cross-tab analysis. The result showed that, in perspective of expression styles, both men and women preferred geometric expression the most and abstract expression the second in every clothing item, which reflect modernistic images. In perspective of pattern types, they showed different preferences over gender, season, and clothing item. Men preferred checkers and plaids the most regardless of season, and their preference for abstract patterns, letters and symbols, and stripes were relatively high for all clothing types, demonstrating their tendency to choose amongst these four pattern types. On the other hand, women showed more diverse preference in pattern types and had a wider variety of pattern choices for different clothing types and seasons. Particularly, women displayed high preference in dots and circles, plants and animals. Such difference also appeared when comparing genders, seasons, and clothing types in perspective of arrangement styles. Men used four-way arrangement the most for outerwear and bottoms and used spaced arrangement for tops. Women showed similar ratio of four- way, two-way, and all-over arrangements, and more use of spaced arrangement than that of men, again exhibiting more diversity in arrangements of patterns than men.
103 D6
The Changeability of the Fashion Design Using the Concepts Expressed in the Play "La Différance" in Contemporary Fashion
† Shinmi Park Dept. of Clothing & Textiles, Andong National University, Korea
On entering the 21st century, each field of fashion should not be discussed while excluding style. It is well known that such style takes a role in the breakthrough expressed to the outside of world of fashion by integrating all kinds of different individualities into a design. Fashion today cannot be discussed in any way without considering the changeability of constantly reforming fashion style. The reason for this is that a fashion designer' senses are expressed in and as a part of a new style trend. Fashion trend is along with previous era, generation, idea, etc. Traces that formal images or work of designers' ideas are important for creating a new style of fashion design and it is also impact on the immediate trend changes. This research aim to look at the process of contemporary fashion development. The study reviews the work of post-1990s high fashion designers who have created work as a concept of 'changeability' which is a core idea of 'la différance.' In general, the former studies of 'deconstruction' and 'transformation' in fashion were limited to the external form itself. In the principal and philosophical view, is what Jacque Derrida pursued only the external deconstruction? In contrast to previous research, the purpose of this research is to establish this thesis by studying the intrinsic changeability principle of fashion style, which always pursues endless transformation. The paper is convinced that the theory certainly includes 'la différance,' and this can be viewed at both the internal form and external form. Researcher' previous researches clearly show this idea that "the deconstructional changeability provides qualitative opportunities that allow creating limitless aesthetic values in fashion. This is expressed in reconstruction of the external form consolidated into internal form ideas,(Park, 2006: Park & Lee, 2005)" sensibility which is evidenced in philosophers and artists, and something that enables one to generate distinctive properties of formative arts. The harmony or combination of two contrasting theories is the cardinal virtue in creation of art or design. Another previous research suppose that "Derrida's theory of 'supplement' is a clue to discuss such assumptions. In other words, fashion style that constantly changes is completed with 'la différance' in the context of dialectical codes, and 'supplement' as a medium of 'la différance.' Therefore, 'supplement' is the key to spaces of "la différance" in examining the changeability of fashion style, and the core of this study"(Park & Lee, 2006). The theoretical basis in deriving the ideas for this paper is as follows: first, the principle of 'la différance' in the context of dialectical codes is based on Georg Wilhelm Friedrich Hegel's theory of 'Derabolute Unterschie', and 'Aufgehőbe.' Secondly, ‘la différant Image’ move within the circulating dialectical frame, which is Hegel’s philosophy interpretation and they become coded by understanding the identification process in the state of 'supplement' through 'la différance'(Park & Lee, 2006). Lastly, the theory of 'supplement' is established by Derrida, extra concrete data regarding this can be found in Platon's 'Phaedrus,' Aristotle's' 'Interpretation,' and Rousseau's 'Dangerous Supplement' (Park & Lee, 2007). In the process of advancing the third theoretical basis, I have discovered that a new design was not always ideal, and the current style was not necessarily expressed
†[email protected] The background information of this paper is related with researcher' PhD in 2006. 104 ideally while the changeability was in progress. In fact, contemporary fashion is quite ambivalent. It can be both positive and negative depending on an individual difference and in the existing point of that time. Therefore, the background idea of this thesis is as below: firstly, changeability of fashion style evolves from the each individual play of la différant image, and this was a circulating motion that centers on dialectical basis within the internal and external place of la différance. ‘New la différant images’ were represented in the currently existing space and time, only by the means of everlasting circulation of motion that is happening in the place of creation. Secondly, the sub-contents of la différant that exist in the entire play of changeability through the reconstruction of fashion style, such as postponement, deferment, reservation, delay, dissemination, scattering, representation, indeterminacy and supplement were given the roles that suit their characteristics. La différance took control of the leadership without appearing in the play, and completed the play by appropriately facilitating its sub-contents in the play scene. Thirdly, the la différant images that took part of the reconstruction play more than once with ‘la différance,’ namely 'ultimate la différant image', 'New la différant image', 'la dissemination la différant image', 'la différant image of the trace', firmly secured their positions in the internal and external construction place of la différant. In addition, the individual roles of each of these images were clearly classified in the play of changeability. ‘La différant images’ accomplished their duty in the construction space of la différance, and they had become the basis of the endlessly progressing enormous play of the construction space. Fourth, the supplement logic that acts as the catalyst in the play of changeability of fashion style found its appropriate position from securing the dualism theory underscored from Platon’s Phaedrus. This logic acquired the embodiment method and erected a hierarchy structure through Aristotle’s ‘Interpretation.’ It also held precedence to make scandal through Rousseau’s 'dangerous supplement'.(Park & Lee, 2007) Furthermore, it acquired diversity and perpetuity by Derrida. However, from the aspect that their discussions were mentioned on the basis of intrinsic priority, the substance of supplement shows an ultimate characteristic difference with their 'supplement.' The substance of supplement that is displayed in the process of changeability of fashion style was not an exclusive possession of Derrida or of these philosophers. But it was an independent proposition that creates new style. In other words, it was a proposition that enforces its theory to gain specialty in sublation of the median status in order to fill in the gap between structural layers of phenomenology and structuralism. Fifth, the plays of trace that floats in the external place of la différance in order to transform time into space, continued to mediate and examine the other’s viewpoint in the state of ‘reservation,’ ‘deferment’ and ‘postponement.’ The play aimed at promoted a good reflection enduring of high-quality future images that endures strong awareness. 'The plays of trace' was a play that pursued the harmony of ‘reservation’, ‘deferment’ and ‘postponement’ that occurred in the external site of la différant’ play, which connects the past-present- future. Sixth, by compiling the researcher’s creative theory of la différant’ play in an effort to restructure a new style, it is found that ‘changeability of fashion style’ is an endless circulation of image rings that had distinctive characteristics, and which is continuously carried on to re-produce the creations that are required by the current era. In conclusion, the ‘supplement’ phenomenon and ‘la différant images’ shown in the changeability of fashion style, covers up the gap between the structural layers through the play led by supplement logic in the subconscious place of la différance of dialectical frame. They produce styles that have current value and become generalized la différant images of trace through the play of ‘la dissemination.’ These images repeat their individual play to reproduce a new different ‘la différant images’ and complete the aesthetics of harmony in the state of ‘reservation,’ ‘deferment’ and ‘postponement’. The images are ready to make history and they create 'ultimate la différant images’ from the demand of different period, and tries to combine with ‘supplement’ within 'the gap of la 105 différance.’ This process endlessly repeats in the dialectical frame through the la différant’ play led by time and space, and it continuously produces new style that is required by different time and space. Therefore, contemporary fashion is contained not only immediate designer' senses but also various la différant images.
References
Park, S. M. & Lee, J. J. (2005). The Study on the Changeability of Fashion Style in View of 'La Différance Image', 2005 Fashion & Culture: International Costume Conference Proceeding, The Korean Society of Costume, International Conference, Korea, pp. 158-159. Park, S. M. & Lee, J. J.(2006). The Conceptual Observation for the Supplement as Shown in the Changeability of Design Style. Bulletin of Korean Society of Basic Design & Art, 7(3), 287-299. Park, S. M. & Lee, J. J.(2007). Examining ' La Différance' in View of Dialectical Codes, the Theory of Changeability of Design Style'. Bulletin of Korean Society of Basic Design & Art, 8(4), 249- 259.
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A Study on Fashion Design Applying Saekdong
Sukhee Lee† Department of Fashion Design, Honam University, Korea
Ⅰ. Purpose of Research Saekdong, traditional Korean stripes that bear special meaning and create a look of harmony, is a part of a proud Korean cultural legacy and deserves attention for the creation of fashion design. The purpose of this research is to investigate Saekdong, and to find out its plastic characteristics in form, color and technique in order to recreate it as modern fashion design., and finally to show possibility of various advance of modern fashion design applying Saekdong.
Ⅱ. Methodology The research started from research literature to understand Saekdong systematically and to examine its characteristics. It referred to the achieved research result and photos collected in a museum. Based on the theoretical considerations and photos. I developed 2 dresses and 1 formal wear focused on practical use by applying Saekdong.
Ⅲ. Considerations and Result 3.1 Considerations about Saekdong The According to historical references, cloth with Saekdong dates from the ancient times. The saekdong appeared to be used throughout jeogori (short jacket with sash), majoja (buttoned jacket), durumagi (overcoat), wonsam (female ceremonial topcoat during the Joseon Dynasty), .Hwarot (traditional Korean clothing worn by royal women for ceremonial occasions or by commoners for weddings),.Kkachi durumagi (children's colorful overcoat worn on Korean New Year), gulle(girl's headgear) especially in the Joseon Dynasty Moreover, Saekdong aesthetically represents the cosmic dual forces and the Five Elements, and stands for gorgeousness and harmony with good omen.
Fig.1 Kkachi durumagi Fig.2 Jeogori for girl The history of Hanbok and its ornaments p.245 The history of Hanbok and its ornaments p. 342
† [email protected]
107 Fig.3 Wonsam Fig.4 Hwarot The beauty of korean traditional costume p.86 The beauty of korean traditional costume p.102
3.2 Plastic characteristics of Saekdong Summary of characteristics of Saekdong centering on its form, color and method of expression as below. First, Saekdong has striped vertical patterns which are variously shown according to the number of lines and has regular distances among the stripes. Second, Saekdong uses the colors of the five directions except black and the miscellaneous colors of the five directions Third, there are various methods of making Saekdong including sewing, weaving and quilting. Frequently Saekdong is added to ornamental pattern in the methods of embroidery, tassel, and pine nut ornament besides them.
3.3 Development of fashion Design Applying Saekdong After the theoretical considerations on Sackdong and its plastic characteristics being studied, the unique three works of fashion design -based formative factors of Saekdong were developed. Saekdong was applied to the three works with change and transformation in its width by using patchwork, piping and embroidery techniques. Also color tone of traditional Saekdong was changed into bright tone or light tone in order to recreate Saekdong as modern fashion.
108 Fig. 5. WorkⅠ Fig. 6. WorkⅡ Fig. 7. WorkⅢ
Ⅳ. Conclusion
In this research, Saekdong were chosen as the material for modern fashion design development. Saekdong is one of the representative items to stand for Korean images. This research would provide the useful information in understanding plastic characteristics and aesthetic values expressed in Saekdong. We would be able to get more creative modern fashion design to show the esprit of Korean when Saekdong are reinterpreted with current perspective.
References
Lee, kyungja(2003). The history of Hanbok and its ornaments, Youlhwadang publisher. Geum, keysook(2005). The beauty of korean traditional costume, Youlhwadang publisher. Kim, jihong(2006). A study on the plasticity of Saekdong in contemporary fashion design, Hongik University, Graduate school, Master Thesis. Suh, Okkyung(2009). A study on design of culture goods using cloth with Sackdong, The journal of Korean Society of design culture 15(3), 153-160 Kim,kyungmin(1995). A study on fashion design applied by the Saekdong, Ewha Womans University, Graduate school, Master Thesis.
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Being inspired by Saekdong is familiar ground for korean fashion designers.
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Classification of Collaborative Design through Collaboration Type Analysis
Shin-Young Lee† Department of Fashion Design, Dong-A University, Korea
For the past few years, the convergence between art and design including fashion, and collaboration among the same and different types of brands has gone beyond simple commercialization and reached a level of innovation where it brings the mutual benefit of image making and new market exploration. The collaboration was initiated in the late 1990s and increased dramatically in the 2000s. Now it is carried out in a variety of fields taking a more in-depth approach. The areas of collaboration is gradually expanding to include such areas as product development and academic research and requires comprehensive and total cooperation and combination for the entire process. It has emerged as a mega-trend in today's social, cultural and industrial context. People recognize the co-creation of a new area and innovation through collaboration as a new direction for future convergence and studies on collaborative creativity are actively pursued. There has been an increasing number of studies that focus on collaboration for the past few years while various methodologies in many areas have been highlighted. However, most studies remain premised exclusively on presenting cases of collaboration and its economic and cultural impact and not many studies have been carried out to explore the design convergence in the actual fashion industry and the possibility of its future development, not to mention design convergence from an educational perspective. Therefore, in this study, we will classify the design convergence in fashion by analyzing various cases and explore the possibility of co-creation which is a more progressive form of collaboration. For the purpose of this study, we abstracted the combinations of four elements as the elements, which form the types of internal and external collaboration, including ‘Fashion Brand’, ‘Fashion Designer’, ‘Non-Fashion Area’, and ‘Non-Fashion Designer’. We categorized and analyzed based on these elements, and the following combinations of collaboration types are formed: ‘1. Fashion Brand + Fashion Designer’, ‘2. Fashion Brand + Non-Fashion Area’, ‘3. Fashion Brand + Non-Fashion Designer’, ‘4. Fashion Designer + Non-Fashion Area’, and ‘5. Fashion Designer + Non-Fashion Designer’. As a result, the following conclusions were reached. Firstly, ‘1. Fashion Brand + Fashion Designer’ allows fashion brands to achieve high-quality image making through designers' innovative and creative designs which results in higher brand values. From a fashion designer's perspective, it gives them an opportunity to approach the general public in a more familiar manner and increase their recognition thanks to the issue making of collaboration with a brand. Secondly, ‘2. Fashion Brand + Non-Fashion Area’ helps achieve more creative and artistic image making from the brand's perspective which results in higher brand values. It creates psychological reaction in consumers as if they are consuming art works and it links fashion to artistic value providing them with a 'unique' experience. On the other hand, from the perspective of 'Non-Fashion
†[email protected]
110 Area', it gives them an opportunity to approach more consumers than the art market and raise the public’s awareness of art works. Thirdly, ‘3. Fashion Brand + Non-Fashion Designer’ allows fashion brands to introduce more innovative designs created by designers from non-fashion industries which results in a possibility of more progressive image making. In addition, collaboration with prestigious designers from non- fashion industries raises its brand image. On the other hand, the designers have an opportunity to expand their creative talent to a whole new area. Fourthly, ‘4. Fashion Designer + Non-Fashion Area’ gives fashion designers an opportunity to expand their creative talent to new areas of design in the same way the third type of collaboration does to non-fashion designers. By introducing consistent styles in all product categories, designers will build their design identity and branding. On the other hand, from the perspective of 'Non-Fashion Area', they can attract 'Fashion People' who are excited about the unique style of fashion designers in product design and set their products apart from the competition creating unique and stylish brand images like fashion items. Finally, ‘5. Fashion Designer + Non-Fashion Designer’ promote sharing the process of creation and undergo designing process through communication and exchange of ideas. Co-creation is most likely to occur in this type of collaboration. When fashion designers and designers from other areas share their designing process with a common vision and values, true design convergence can be achieved. Co-creation is observed in the entire process of designing.
111 D9
Fashion Inspiration SourcesAn Analysis of Spring 2012 Menswear Collections
Yhe-Young Lee† Department of Home Economics Education, Korea University, Korea
The Korean government has been making efforts to promote fashion designs inspired by Korea’s cultural heritage for the global market (Korean Ministry of Culture, Sports and Tourism, 2007). Similarly, Lee Young Hee and Lie Sang Bong have made impressive contributions to the international endorsement of Korean style. Lee has designed styles that were inspired by the traditional Korean garment, the Hanbok. She began attending the Paris Prêt-a-Porter fashion event in 1993; since then, she has held 22 fashion shows in Paris. Moreover, she began conducting fashion shows in New York in 2004, and she opened the Lee Young Hee Korea Museum in Manhattan to introduce her collection of traditional Hanbok fashions and accessories to western society. Lie also has designed works inspired by Korea’s traditional cultural elements. He is well known for fabric prints displaying Hangul(Korean letters). He has introduced design works in the Paris Prêt-a-Porter collections and in the Concept Korea fashion show in New York. He collaborated with LG Cyon, Samsonite, and Kumho Richensia to incorporate Korean styles into mobile phones, suitcases, and home interior products. I would like to describe how Hanbok and other cultural elements inspired expressions of Lee and Lie in six aspects: line and form, color, fabric, motif, decorative technique, and accessory. First, the A-silhouette, high waistline, two-dimensional features, restrained use of lines, and curves of Hanbok garments were applied in Lee’s designs (i.e., line and form). Lee introduced Hanbok skirts as evening dresses in her first Prêt-a-Porter collection in 1993. A Paris magazine reporter coined a name for the style—“costume de vent.” Diversified forms of costume de vent and designs reminiscent of Hanbok underpants, jackets, and coats can be found in Lee’s collections. Second, colors obtained from natural dyeing techniques appeared in her designs. In addition, the bright colors in multicolored stripes used in children’s Hanbok clothing have appeared in Lie’s collection; Korean patch works have provided further inspiration. Third, fabrics including silk, cotton, and linen have been used frequently in Lee and Lie’s collections. Fabrics woven with yarns made of Hanji(Korean traditional paper) and silk in the proportion of 3:7 were used in one of Lee’s collections to promote fabric sales. Fourth, Korean traditional motifs including Hangul(Korean letters), shaman costuming, multicolored paintwork on wooden buildings called dancheong, butterflies, doggaebi(Korean goblin), and door frameworks were recreated in Lie’s collections. Motifs drawn in the Sumie technique, used in Korean traditional ink-and-wash paintings, also appeared in both Lee and Lie’s collections. Fifth, decorative techniques such as embroidery, patchworks, and quilting have appeared recurrently in Lee and Lie’s collections. For example, Lie’s spring 2004 collection displayed embroidery, tassels, and beads inspired by Korean shaman costumes. Finally, Korean traditional accessories such as the jobawi(hat) and norigae(ornaments) can be found in Lee’s collections. References
Korean Ministry of Culture, Sports and Tourism (2007). Han Style: Korea the sense. Retrieved April 3, 2009, from http://www.han-style.com/english/index.htm
† [email protected]
112 D10
A Study on the Way of Using Eco-friendly Fashion Display
Eunkyung Lee Dept. of Fashion Design & Business, Daejeon University, Korea
Ⅰ. I ntroduction Recently, fashion businesses are making an effort to form the consumer-friendly attitude for their own brand by letting consumers recognizing the eco-friendly image. With no exception, such an effort is being made in fashion display to choose the eco-friendly material and to minimize energy This study aims at investigating the real state of the eco-friendly fashion display at present, and suggesting the way of using it after analysis of examples. It is expected to be a practical help in decreasing the display wastes.
Ⅱ. The way of Studying The concept, type, and real state of them were examined, focusing on the academic journal, advanced research, and internet site. Concrete suggestion was made on the basis of them to decrease the environmental problem after analyzing the photos at road shop at Cheongdan-dong, Lotte Department store, and Galleria. The date were collected from the research site of Samsung Net, Naver, Google. etc..
Ⅲ. A nal ysi s and i ts R esul t The way of displaying the eco-friendly fashion display can be summarized as five types as the result of analysis of document, internet site, and shop photos. The new way of displaying on the basis of them is as follows.
1. The Use of Recycling Material Recycling means the reprocessing of the disposable waste material to renew its value. There are too many disposable things around us such as cloth, paper, styrofoam, plastics, aluminum. They have the advantage of being able to be used for creative, only one design, in the state that fixed regulation and intention are excluded. There are such examples as the manufacturing of new fabric by linking useless pieces of cloth, wall decoration by using newspaper, painting to styrofoam, and sculpture by using plastics and aluminum.
2. Diverse uses of eco-friendly material The use of eco-friendly material can be largely divided into organic material, and eco-friendly new material. The eco-friendly material is not chemical, but natural one like bean, corn, and bamboo. This, of course, includes the new material to be developed by recycling the disposable raw material and material. They not only don't emit the environment hormone, when in use for display at shop, but also lesson the environment pollution even after their removal.
3. The Use of Eco-friendly Message Suggestion It means the direct application of slogan and message for recycling, and friendly environment to fashion display. The example of message suggestion is one way of public relation that fashion businesses are ethical, instilling into consumers the notion that they are consumer-friendly, taking the environment into account. Also, it has the effect that their products were produced in such a mind.
113 The screen, illumination, and banners can be directly applied to fashion display so at to make the special message easily seen around.
4. The Use of Eco-friendly Fashion Motif It is the way of applying nature motif to display in order to live up to the moderns' longing who love nature, and eagerly want to return to nature, with the consciousness of protecting environment. Plants, insects, and animals are excellent materials in expressing the nostalgia and affinity with nature. It is a means of relating material with nature motif which has been used from the point of design with friendly environment.
5. Use of illumination Strategy of Shop Shop presentation counts very much in the field of distribution in fashion industry. About 200 to 500 light bulbs are used to create brilliant illumination effect in one shop. The adding up the heat produced here and its cost would come to huge amount of money. To lessen the amount of electric energy use in shop, if HID should be substituted for existing halogen bulbs and light ones, it could lessen even 80% of that energy to its maximum with the same brightness in high effective illumination.
Ⅳ. Conclusion The investigation of the real state of eco-friendly fashion display at home and abroad, and the analysis of those examples show that from now on five types could be suggested for fashion display to plan an idealistic eco-friendly fashion display. They are the ways of recycling the disposable waste, the diverse uses of eco-friendly material, the direct suggestion of the eco-friendly message, the use of nature-loving motif, the lighting strategy of lessening energy at shop. It was confirmed by this study that, from now on, the environmental problem is the task for which every fashion business should feel the sense of joint responsibility. Hereafter, if consumer's favorable attitude is formed, it will enhance the level of their eco-friendly consciousness, which will finally lead to the desirable purchase of products.
Bibliography
1) Assessment Board (2003). Ecosystem and human well-being. London: Island Press. 2) Fuad-Luke, A. (2002). The Eco-design handbook. London: Thames & Hudson. 3) Ljungberg, L. Y.(2007). Materials selection and design for development of sustainable products. Materials & Design, 28, pp.466-479. 4) Recycled Fashions 15. (2007. 11. 20). Samsung design center. http://www. samsungdesign.net(2013. 3. 15) http://www.mt.co.kr
114 D11
Study on formative features of overstated collar appeared in the modern fashion
Ji Hyun Lee․Yoon Sun Roh Dept. of Fashion Design, Dongseo University, Korea
1. Introduction The expansion of costumes hugely highlighted the sense of form by modifying the unique form of costumes. It was the tendency of expression, which had been appeared clearly during the mid and late 19th century of late-Renaissance and the eras of Baroque and Rococo in the history of Western costume. The costumes during this era were appeared in the overstated form that expanded specific areas. One of their characteristics was a silhouette that would hide a body shape and highlight a body. Such feature not only means simple exterior expansion but also is leveraged as a tool to deliver some meaning through costumes. In particular, it is understood that swelling some parts of one's body externally would provide a psychological stabilization and increase the self-confidence. This is an operation in which an expansion of costumes and an expansion of oneself become equal; thus, it is believed that this performs the role of internal consolation and therapy beyond the concept of simply wearing clothes. Thus, this study aims to analysis the formative nature based on distinctive collars, which are important in terms of the history of costumes, among various details forming a costume. This study aims to verify how the expression of overstated collars has appeared in the modern fashion and examined a variety of expression methods of collars through analyzing the meanings and formative nature. The purposes of this study are to confirm the possibility of development of various designs and comprehend in detail as to the phenomenon of costume expansion through overstated collars.
2. Research methodology and contents As for the study methodology, the theoretical research has been conducted based on the domestic theses, journals and publications. As for the research scope for analysis of art works, the study focused on the art works, in which overstated collars were designed mainly from the women collections of 2004 S/S ~ 2013 F/W in order to analyze the art works of the past 10 years. The fashion specialized Internet site (www.style.com) was utilized to gather data. The contents of research are as follows. First, it is to define the terminology of costume expansion phenomenon. Second, it is to consider as to the 16th century Western costumes, which were known for overstated collars. Third, it is to analyze the formative features of overstated collars appeared in the modern fashion. Fourth, it is to deduct the conclusion by putting together the contents of research.
3. Results and consideration The formative natures of overstated collars appeared in the modern fashion were found to be expandability, historicity, decorativeness and enjoyment, and the results are as follows. First, the expandability was found to be the most important nature as for the formative nature of overstated collars. The collars, which were re-interpreted as a huge size as surpassing the basic shape and size of collars, were appeared as a meaning of quantitative growth. Such expression method is a maximalism expression method, which highlights collars from a whole costume and represents the features of non-structural avant-garde as forming a comparative proportion subsequently. 115 Second, the historicity was appeared as the form integrating the elements of the history of costumes in the past. The expression of a form that appeared to have modified an overstated ruff collar seen in the 16th century Western costume history was appeared as a newly born modern figure, which newly re-interpreted a thing of the past rather than reproducing an image of the past, and it was expressed in a modern way using the unique features of the history of costumes. Third, the decorativeness of overstated collars is something that decorates collars in an overstated way using jewelry, beads and ribbons, and it was expressed as highlighting extravagance. This is the overstated decoration that aims to highlight the extravagance of maximalism with delicate and precise skills through expressing collars with overstated decorations. Fourth, the enjoyment is something that provides unexpected pleasure as getting away from the monotony of everyday life, and it was expressed in a form that would induce humors by expressing the shapes of monotonic objets at collars. This was expressed in a liberal mood as creating enjoyment due to the overstated figure.
4. Conclusion This study is important in terms of implying the possibility of development of various designs through examining the formative natures of overstated collars. The design, which expressed specific areas in an overstated way, highlighted new beauty that surpassed the scope of existing beauty and srives for decentric open thinking. The design that expresses such maximized sensibility pursuit implies us another creation world. This study aims to perceive the importance of details in clothes through examining a variety of external and internal meanings of costume expansion and especially how the phenomenon of collar expansion is appeared in the modern fashion. In addition, this study aims to verify that new designs are developed due to various changes of details and suggest a new direction of design. It is hoped that many studies on details and meaningful designs forming clothes shall be conducted in the future.
References
Gwang Sook Sung, Aesthetic value of expansion phenomenon of costume, Sungshin Women's University Ph.D. dissertation, (2003) Hyun Jin Kim, Eun Sook Lee, Study on expressiveness of fashion design using the features of maximalism, Korea Apparel Industry Association, 13(1) Eun Kyung Park, Comparative aesthetic study between minimalism and maximalism expressed in the fashion of 2000s, Costume, 62(8) Gwang Sook Sung, Study on movie costumes of Queen Elizabeth based on the portrait costume, Costume, 62(8) Hyo Jin Lee, Study on maximalism expressed in the modern costumes, Costume Culture Research, 11(2) Hui Jung Lee, Study on maximal hair style since 2000, Konkuk University Graduate School of Design, master's thesis, 2008 Sun Hwa Jung, Hyun Joo Jung, Analysis of maximalism fashion expression types appeared in the fashion collections, Korea Apparel Industry Association, 11(1) http://www.style.com, 2013. 4. 28
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A study on fashion style of female politician in the 21st century
Jee Eun Han, Sung Hye Jung Dept. Fashion Clothing & Textile, Inha University, Korea
Having interest in women political leaders is recognized as an important strategy with coming of media era and their fashion style influences on political image. According to Rosenberg, which was re-quoted in research of Sun Young Park(2009), the image of politician is one of the important things not only in vote but also in policy fulfill process. Also, the research on the fashion of women political leaders has deep significance because there are more changes in fashion of women than of men. However, the researches on fashion of women political leaders are inadequate. Thus, in this study we picked one internal woman politician and two outside women politicians and progressed comparison analysis. We selected Park Geun-hye, the first female president of Korea, as internal woman politician and two American women politicians as outside case. They are Michelle Obama who led her husband reelection and Hillary Rodham Clinton who is being named as the strong presidential candidate of America in 2016 each. The research data is limited to the references focusing on photograph articles from May, 2002 to April, 2013. As a result, we analyzed 149 photographs of Park Geun-hye, 170 of Michelle Obama, and 120 of Hillary Rodham Clinton each. Considering the preceding research, we grouped major women political leaders to three types, type of succession of power, type of self made woman, and type of combined form(combination of succession of power and self made), and studied about the features of fashion style of each types showing, and classified gender tendency which is from their fashion style. As the leadership of women is emphasized in the twenty-first century, women take an active part in the politics as well. We can see the new type of these women politicians show the type of combined form which means combination of succession of power and self made is increasing. The three women politicians chosen in this research show womanhood and manhood. Especially, when they want to express their professionalism, they use androgyny which means coexistence of womanhood and manhood strategically. In this research, we classified professionalism, womanhood, and manhood as symbolization, silhouette, design, point, color, item, and accessories. The above-mentioned three women political leaders not only liked the fashion fits to the purpose of performance and situation but also directed their value and belief they want to present as one image through fashion style. The research through these cases helps women political leaders know how to express their value, belief, and image through fashion and help the fashion design and image research about women politicians and women leaders of various fields.
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Il gusto culturale : Lady Gaga-ism ;Con particolare riferimento all’immaginario di Lady Gaga
Han a, Cho, Viviana Gravano, Sergio Venuti Dipartimento di Progettazione e Arti Applicate. Scuola di Progettazione Artistica per L’impresa. Indirizzo FASHION DESIGN, Accademia di belle arti di Brera, Italia
Il gusto culturale : Lady Gaga-ism ;Con particolare riferimento all’immaginario di Lady Gaga
Come mai il mondo trova Lady Gaga così affascinante? Il processo di cambiamento sociale incide in maniera rilevante sul gusto culturale. La moda è uno strumento di esprimere visivamente il gusto culturale. Pertanto analizzo le immagini vestimentari d’icona nell’era d’ipermodernità per studiare il gusto culturale della generazione digitale. La nostra società sta cambiando velocemente grazie all’evoluzione della tecnologia. Siamo entrati nell’era dell’ipermodernità che è una vera rivoluzione sociale la cui conoscenza è indispensabile per partecipare attivamente agli scenari comunicativi. Quando la società cambia, nascono una nuova generazione con un nuovo pensiero e nuovo stile di vita. Di consequenza la società propone un nuovo gusto culturale e nasce una nuova icona. La nuova generazione viene chieama ‘Net-generazione’ che è la prima generazione ad essere cresciuta circondata da tecnologie digitali. Sono i figli di baby boom che attualmente costituisce circa il 30% della popolazione. Successivamente questa maggior popolazione giovanile avrà un’influenza potente nella società. Lady Gaga è la diva d’oggi. Quello che fa Lady Gaga risponde alle esigenze di una società ipermoderna. Come mai prima d’ora, la sua performance e sperimentazione sartoriale vengono utilizzati per creare un’impressione visiva che è fatta praticamente su misura per l’era del viral marketing e crea una nuova prospettiva di spettacolo per il gusto culturale del pubblico. Da che cosa deriva la sua importanza culturale? Un gran numero di artisti leggendari hanno unito musica e moda. Lady Gaga va un passo avanti rispetto agli altri artisti contemporanei, riesce a creare un frullato di musica, moda, teatro, cinema, pubblicità e moltissima arte. Si avvicina a Gesamtkunstwerk, l’opera d'arte completa sintesi di tutte le arti. Si crea un proprio nuovo stile che unisce e offusca la distinzione tra moda e costume, tra musica e arte attraverso un riflesso dei diversi lavori e degli artisti d’avanguardia, tra cui Salvador Dali , Andy Warhol, l’artista recente Mark Ryden. In perseguito, analizzo l’estetica di Lady Gaga come si esprime un legame con l’arte avanguardia. Si può dividere le tre categorie principale: Il surrealismo, l’arte pop e la immagine perturbante. Lady Gaga è influenzato da Salvador Dalí che è il più totale degli artisti surrealisti, per il quale non vi è distinzione tra realtà e surrealtà, tra vita quotidiana e arte. Andy Warhol ha usato immagini della cultura popolare e ordinarie, prodotti di uso quotidiano nel suo lavoro per confondere i confini di ciò che era considerato la cultura popolare, e ciò che era considerato arte. Lady Gaga d'altra parte, mostra quello che i più considerano arte intesa come cultura popolare. Lady Gaga, la sua immagine mista di vampirismo, di manicomio, follia e forma gotica che provoca così il senso del perturbante. Un effetto perturbante si trova quando il confine tra fantasia e realtà si fa 118 labile, quando ai nostri occhi appare qualcosa che fino ad allora avevamo considerato fantastico. Creando uno stile visivo coerente in cui promiscuità, ambiguità, e senso del macabro si fondono. Quale sarebbe l’obiettivo finale di Lady Gaga con la sua estetica avanguardia? Lady Gaga cambia cosi spesso il suo look per renderlo ai diversi stili. In questo modo attesta che l'identità al giorno d'oggi può essere concepito solo attraverso la molteplicità. Lei ha voluto creare un personaggio come un mostro, è una fusione di tutti i personaggi di fantasia e raccoglie tutte le identità dei suoi spettatori anche outsider, gay e transessuali in particolare. Unisce tutti per far vedere che un mostro trasforma in una favola. Gli spettatori rimangono affascinati da un mostro con i mille volti. Oggi come l’era di ipermodernità, una delle tendenze più importante è quello di parlare con il linguaggio surreale visivo che fornisce godere dei nostri occhi. Perché noi viviamo in mezzo tra mondo reale e mondo virtuale. La costruzione della sua immagine surreale come il ‘Mostro di molteplicità’ è che durante la sua performance rivela i suoi ‘mostri’ per creare un nuovo mondo. I poccoli mostri che vivono quel mondo dove sono tutti collegati con la rete virtualmente. Il mostro rappresenta il volto della nuova generazione e il nostro gusto culturale di oggi.
119 D14
La moda contemporanea attraverso Blog ; con particolare riferimento al Personal fashion-blog
Han a, Cho, Dora Liscia, Rodolfo Bargelli Facoltà di lettere e filosofia Corso di Laurea in cultura e stilismo della moda Indirizzo FASHION DESIGN, Università degli studi di Firenza, Italia
La moda contemporanea attraverso Blog ; con particolare riferimento al Personal fashion-blog
La cultura mediatica (film, televisione e musica popolare) è sempre stata un grande rapporto con il mondo della moda. Oggi il mass media è sotituito da Internet. Lo studio inizia come la moda contemporanea cambia nell’era del web2.0. Tra il 1920 e il 1950 si determina il periodo del “screen fashion” che nasce con Hollywood. Le spettatrici si sarebbero presto rivolte al cinema per essere aggiornate sulle novità più recenti della moda perche gli abiti delle star avrebbero creato i nuovi trend della stagione della moda. Il momento in cui si comprende veramente l’importanza del star fashion. Dal 1948 al 1958 il mercato discografico conobbe successo e diffusione con l’affermazione della musica giovanile, come il rock’n roll, e la nascita di Pop star assieme ad alcuni generi di abbigliamento. Il modo di vestire degli adolescenti e dei giovani adulti era invece trasformato da una serie di subculture giovanili incentrate sulla musica popolare. Nel 1981 è nata la MTV che non solo ascolta la musica ma anche la guarda. la musica è stata tra i principali simboli di cui la società di massa s’è appropriata. le stile subculturale è stato assorbito dalla cultura di massa per scopi commerciali. È questo il caso di alcuni movimenti givanili come il Punk o l’Hip Hop, i cui simboli sono stati ormai ampiamente commercializzai e inseriti con successo nella società. I mondi della cultura elettronica forniscono reti che ritrasmettono significati creati nelle culture di strada attraverso la musica popolare a un pubblico ampio. Dagli anni Novanta ad oggi, lo sviluppo della rete di comunicazione globale mediante computer è sostituita vigorosamente da altri mass media. Web 2.0 è l’era dell’innovazione da parte del individuo attraverso i nuovi mezzi d’interazione sito-utente tra cui il blog usa come il mezzo di comunicazione in sé che è più democratico e di facile accesso. Nel corso dell’evoluzione dei mezzi di comunicazione interattiva, al pubblico non basta soddisfare un’azione di “vedere” (see), anche vuole “dimostrando” (show) i propri valori e la propria personalit. La media personale orizzontalmente incontra sul web senza distinguere tra i fornitori e i consumatori. I blog interconnessi hanno sviluppato una propria ‘micro cultura’ in modo piú varia e dettagliato rispetto a subcultura. La comunità giovanile si è trasferita dalle strade urbane allo spazio del web. I gestitori di fashion blog sono una classe creativa è un insieme individui con caratteristiche socio- demografiche molto diverse, ma sono collegati da una stessa soggettività, passione, esperienza. Rappresentano i modelli da seguire, lanciando una nuova tendenza, uno stile diverso. I visitatori considerano il power blogger come un’obiettivo del wannabe e assorbono lo stile di loro. Analizzo i cinque stili di power-blogger per studiare le forme vestimentarie della generazione attuale. Alla nuova generazione, l’abbigliamento è diventato un divertimento dai loro interessi, esso è indipendente dalla razza e dalla regione geografica, libero dallo stile di vita e dai gruppi d’appartenza.
120 I mass media, a meno che avessero il sostegno di personal media, persero gradualmente il loro potere di creare una grnde vogue. Un 1% del pubblico può creare un micro-trend che è capace di lanciare un business importante o addirittura un nuovo movimento culturale, un cambiamento commerciale. I power blogger, conoscono la propria domanda nascosta dalla gente, contribuiscono attivamente nelle scelte della moda attuale, propongono nuove tendenze. Le industrie della moda pescano le loro idee per trovare il mercato nicchia. Queste piccole idee creative stanno portando all’attivazione e diversificazione del settore della moda.
121 D15
The study on Upcycling Men’s suits into Evening Dresses
† Jung A Song , Yangsuk Ku School of Textile Engeneering & Fashion Design, Kyungpook National University, Korea
Upcycling is the process of converting waste materials or useless products into new materials or products of better quality or better environmental value. Plain and simple upcycling has a positive impact on the environment. Upcycling is even better than recycling in some aspects; recycling requires energy or water to break down materials. Upcycling only requires creativity and elbow grease. The aim of this research is upcycling men’s suits into women’s evening dresses. It covers the deconstruction of men’s jacket and pants for sewing projects. The work was developed through the drafting methods. The results were as follows: Remove the sleeves, take apart the side seams and lay it still inside out on a flat surface. Try it on to gauge how much smaller you need to make it. If you reduce armhole at the armpit, you have to raise the armscye of the bodice. Then sew along the pinned line up each seam of the jacket with the shoulder pads taken out. Lay the pants down onto a clean, flat working surface. Turn the pants inside out, and use a seam ripper to rip the inseams of the pants so that they are no longer attached. The only thing still attached should be the waistband of the pants, with two unattached panels. Lay it on a flat surface. Choose the length of the skirt by folding the pants horizontally. Use different fabrics and removed sleeves to sew in as the panel. Measure and cut panels to fit in the area left vacant by the space between the pants’ legs. The panels should be shaped slightly like a handkerchief. Sew about 0.2cm then fold over the part of the panels. Sew over the fold and continue to do this all the way around the skirt. Sew around the outside edge of the waistband tie to make your wrap skirt ties. Finally sew all of buttons on the garment’ front and collar. The works are shown in Fig. 1
† [email protected]
122
Fig. 1 Upcycling Men’s suits into Evening Dresses
References
Armstrong, H. J. (2000). DRAPING for Apparel Design, New York: Fairchild Publications. Armstrong, H. J. (2000). PATTERNMAKING for Fashion Design (3rd ed.), New Jersey: Pearson Prentice Hall. Kwan, J.S, (2012). Based on the Perspective of Sustainability, the Characteristics of Upcycle Fashion design. J. of Korean society Clothing Industry, 14(1), 13-23. http://en.wikipedia.org/wiki/Upcycling http://hipcycle.com/what-is-upcycling
123 H1
A Technical History-Based Study on Men’s Costume in the early 19th Century of the West through the Reconstruction of Costume Preserved in Museum
*† ** Yanghee Kim ․ Kyunghwa Lyu * Dept. of Fashion Design & Textiles, Inha University, Korea ** Dept. of Clothing & Textiles, Inha University, Korea
The purpose of this study was to determine the representative types based on the collection and analysis of the primary historical records related to the men's clothing and ornament in the Western modern era, and to conduct the technical history-based research through the reproduction of the clothing and ornament preserved in museums which correspond to each type classified into respective categories. This study was intended to expand the basic foundation of the Western clothing and ornament by identifying new materials and integrating such new materials into database, and present a systematic and in-depth research model through technical history-based research. The results of this study will be incorporated into the database and manuals, and therefore provide useful reference for the repair/preservation of clothing and ornament preserved in Western museums and for the production of performance costumes, fashion design, etc., thereby contributing to expanding the fashion culture contents and promoting the popularization of liberal arts. In this study, this researcher developed the entire processes encompassing the identification of pictorial data, analysis of representative types by period, investigation and analysis of the preserved clothing and ornament relics, design of historical investigation with real object, development of pattern drawing technique, etc. The clothing and ornament for men in the 19th century exhibited a trend consistent with the trend of clothing and ornament for women, and could be classified into 5 categories, i.e. the empire style, romantic style, crinoline style, bustle style, and art nouveau style, based on the characteristics of silhouette and shape. However, the shape and period cannot be determined precisely because their changeover period or transitional period has not be examined closely. Thus, various pictorial data, such as the paintings, prints, photos, etc., which had been kept in various places, were collected to classify them primarily through quantitative categorization of historical records based on period. The criteria for the classification of historical records was established and listed by period. The scope of materials were determined by looking into the characteristics in terms of contents and form which had changed in different periods, and furthermore, the types which had clear difference in shapes were categorized by period. The classified men's clothes were compared and examined with various types of historical records. Moreover, the representative types were determined by analyzing the characteristics of the shape and formation. The relics analysis was conducted for the 2 pieces of clothing and ornament for the top and bottom, which were preserved in museum and corresponded to the representative types by period that had been analyzed before. In addition, the cooperation was obtained from the Museum of Costumes in Paris where the preliminary investigation was conducted into the preceding studies with regards to the preserved files, photos, sketches, etc.
† [email protected]
124 The clothing and ornament relics, which had been preserved, were investigated and analyzed through actual measurement & filming, analysis of the characteristics and formation method by type(wearing form, pattern, sewing), fabric analysis(physical tissue analysis, colorimetry), creation of file related to the materials preserved in museum, determination of the value based on historical records(literature study, interview with curator). The investigation and production techniques were tested through experiment, and the process was developed because the preliminary historical investigation was carried out for the 1 piece of the clothing and ornament - preserved in museum - which were won by men in the early modern era of the West prior to the reproduction of the representative types by period. At this time, the literature and preceding studies related to the patterns of the concerned period were investigated, which were then compared with the shapes of the analyzed representative types, and based on that, the muslin was produced through the three-dimensional tailoring method, followed by the presentation of the final CAD pattern after the verification through the wearing evaluation. The basic types of men's clothes were the chemise, gilet, a type of vest, for the top, stiff chemise collar, and cravate worn around the neck. Moreover, the veste or blouse or frac were worn over them. Culotte or pantalon were worn for the bottom, and the cloak type sleeveless cape or redingote were worn as overcoat. The chemise had many pleats and large width in overall way, and had the ruffle with horizontal pleats and folding at the front center. The collar was stiff to the extent that it came into contact with both cheeks, and the cuffs of sleeve was broad enough to come out of the outer layer of coat. The gilet had the length reaching the waist and also had the frontal folding, which were made from the textiles with bright colors and gorgeous patterns, highlighting the men's wear, unlike the relatively monochrome coats or pants. The frac had the hem line slightly higher than the human waist line, and had the narrowing width downward with a curved line towards the back. It was the single or double breast, and had the collar and lapel. The culotte, which was put on only in the royal court, had the length reaching down to the knees and was tight. Pantalon, which was worn commonly by the public, had the length reaching down straightly to the toes. The redingote, an overcoat, had the silhouette similar to that of frock coat, but had a larger length than the frock coat and featured wide collars or lapel, and was sometimes made from other textiles such as velvet, etc.
125 H2
正倉院の夾纈染の類型と特徴 Types and characteristicsof clamp resist dyeing in Shoso-in
*† ** Jungeun Lee ․Ken'ichi Sugano *The Korean Traditional Costume Research Institute, Pusan National University, Korea **Department of Crafts, Tokyo University of the Arts, Japan
Ⅰ．はじめに
日本において夾纈は、奈良時代の代表的な染色技法である。夾纈技法の伝来時期は判然と しないが、正倉院の染織品より時代が下がる法隆寺の古幡には夾纈技法が用いられた例はな く、記録の上でも 8 世紀中葉までその名称が見当たらないため、恐らく８世紀前半から半ば にかけて唐からもたらされたものと考えられる。それ以降、平安初期に至るまで制作されて いたことが、『延喜式』の記録からも伺い知ることができる。しかし、平安中期になると歴 史から徐々に姿を消し、多彩な色で文様を表す夾纈技法はいつしか衰退してしまった技法で ある。 現在正倉院には東大寺大仏開眼会(752 年)に使用された舞楽装束を始め、国家珍宝帳(756 年)に記載されている屏風、また、聖武天皇の一周忌用(757 年)の幡などを含め、約 700 件を 超える夾纈染が残されているが、制作方法に関する記録や染色に使用された染め道具類は未 だに発見されていない。 夾纈とは防染されるべき図柄の輪郭線を残して文様を凹彫りし、染料液を注入するため、 文様の凹部より背面に通じる穴を開けた２枚の版木の間に、半折、四折した布を畳んで挟み、 それに圧力をかけ、固く締めた後、染料液を穴の中から注ぎ込んだり、版木ごと染料液に浸 けて染める染色技法、あるいはこの技術で作られた染色品を称する。 現在まで夾纈に関する研究は制作技術を解明する内容が多く、夾纈の特性について分析し た研究は少ない。そこで、本研究は、正倉院の夾纈染を、類型、用途、文様、素材、色彩ご とに分類し、その特徴を考察することを目的とした。
Ⅱ．研究方法 国内で発行されている正倉院の染織に関する資料の中『正倉院宝物染織下』、『日本の染 織 第１巻』、『東京国立博物館紀要 33』、『正倉院展』、『正倉院裂と飛鳥天平の染 織』、『正倉院宝物』から収集した夾纈染のデータの内、色が判別でき、異なる文様の夾纈 染 50 点を対象とし、各項目を統計分類する。
Ⅲ．結果
１．夾纈染の類型
† [email protected]
126 夾纈は文様の輪郭線を凸形に残して、文様を凹彫りした版木で染めるため、必ず、防染さ れた文様の輪郭線は白く、文様は染色される特徴を持つ。そこで、染色された文様の色数や 特徴によって夾纈染を単色型、多色型、多色型の複雑染に分けることが出来る。 まず単色型は文様の部分が一色で染められているもので夾纈の中でも一番単純な染め方法 に属する。次に、多色型は、文様の部分が２色以上染められているもので、多くの裂がこの 類型で属する。最後に、多色型の複雑染は、文様が２色以上で染められていて、さらに文様 の中が繧繝調の濃淡で染められているものである。これは最も高い技術を要する方法で、国 外の夾纈には見当たらないため、日本で染められた夾纈技法の可能性が高い。比率を見ると 単色型６点、多色型の単純染 37 点、多色型の複雑染７点であった。
単色型 多色型 多色型の複雑染 『正倉院宝物染織下』、図 28 『日本の染織 第１巻』、図 42 『正倉院宝物染織下』、図 66
Fig1. 夾纈染の類型
Fig2. 夾纈染の類型の類型比 ２．用途及び文様 衣服（半臂、前垂、袍など）、仏具(花曼、幡など)、生活用品（褥、屏風など）に使用さ れているが残欠になってしまったものも多い。用途別にみると衣服９点、仏具 19 点、生活 用品 12 点、残欠 10 点である。夾纈に使用されている文様は主に植物文を中心に単独、ある いは、禽獣文、風景文、幾何学的文などと組み合わせて表現している。その比率をみると植 物文（唐花・唐草など）24 点、植物文+禽獣文(鳥・鹿・蝶など)16 点、植物文＋風景文 3 点、 植物文＋幾何学的文 4 点、植物文＋禽獣文＋風景文２点であった。
衣服 仏具 生活用品 『日本の美術』520、ｐ8 『正倉院宝物 10 南倉Ⅳ』、ｐ226 『正倉院裂と飛鳥天平の染織』、ｐ70 Fig3. 夾纈染の用途
127
Fig4. 夾纈染の用途の類型比
植物文 植物文+禽獣文 植物文＋風景文 植物文＋幾何学 植物文＋禽獣 『日本の染織 『正倉院裂と飛 『正倉院裂と飛鳥 的文 文＋風景文 第１巻』、図 41 鳥天平の染 天平の染織』、 『正倉院宝物染織 『平成 7 年 正 織』、p38 p102 下』、図 63 倉院展』、p15 Fig5. 夾纈染の文様
Fig6. 夾纈染の文様の類型比
３．素材及び色彩 夾纈染に使用されている素材は全て絹で、その種類は絁、羅、紗、薄絹、綾などがある。 比率を見ると絁 25 点、羅 23 点、紗１点、薄絹で、穴から入った染料が通り抜けやすいよう に、目が粗い絁と羅がよく使用されていった。夾纈に使用されている色彩は赤、青、緑、紫、 黄、茶であった。その使用率は赤色 45 点、黄色 1 点、青色 26 点、緑色 32 点、紫色 1 点、 茶色 6 点であった。
Fig7. 夾纈染の素材の類型比 128
Fig8. 夾纈染の色彩の類型比 Ⅵ．結論
１．夾纈染の類型は文様が１色で染められた単色型、２色以上で染められている多色型、 文様が２色以上で染められていて、さらに繧繝調の濃淡の染が加わった多色型の複雑染に分 けられる。２色以上を使った多色型は全体の 7 割を占めているので、正倉院の夾纈染は多色 で染められている事が特徴と言える。 ２．夾纈染は、衣服（半臂、前垂、袍など）、仏具(花曼、幡など)、生活用品（褥、屏風、 箱の表面など）などの様々な用途で使用されていた。 ３．夾纈染の文様は、主に植物文を中心に単独、あるいは、禽獣文、風景文、幾何学的文 などと組み合わせて表現している。特に、仏具の幡には植物文が多く、生活用品の屏風など には植物文と何かを組み合わせた複合的文様がよく使われている。 ４．夾纈染に使用されている素材は羅、絁、紗、薄絹である。特に羅がよく使われていた のは、夾纈の技法がいかに大事な行事に使用されていたのかを表している。 ５．夾纈染には赤，緑，青が多く使われている。特に緑は平安時代に編纂された『延喜 式』や『万葉集』の記録から藍で染めた生地をさらに刈安または黄蘖で染め重ね染色してい たことが記されていった。 今回研究対象とした夾纈染は、正倉院裂の中でも既に出版されたカラー図版をもとに集 めた資料である。今後、今回の研究に基づいて新たな資料を加え、研究を進める予定である。
参考文献 正倉院事務所編『正倉院宝物染織下』、朝日新聞社、2000 松本包夫・高田倭男責任編集『日本の染織 第１巻法隆寺・正倉院・公家』、中央公論社、 1979 東京国立博物館編『東京国立博物館紀要』第 33 号、東京国立博物館、1998 正倉院事務所編『平成 8 年 正倉院展』、毎日新聞社、1995、 松本包夫、『正倉院裂と飛鳥天平の染織』、紫紅社、1984 正倉院事務所編『正倉院宝物１ 北倉Ⅰ』、毎日新聞社、1997 正倉院事務所編『正倉院宝物２ 北倉Ⅱ』、毎日新聞社、1997 正倉院事務所編『正倉院宝物６ 中倉Ⅲ』、毎日新聞社、1997 正倉院事務所編『正倉院宝物８ 南倉Ⅱ』、毎日新聞社、1997 正倉院事務所編『正倉院宝物９ 南倉Ⅲ』、毎日新聞社、1997 正倉院事務所編『正倉院宝物 10 南倉Ⅳ』、毎日新聞社、1997
129 H3
The changes of Hanbok focusing on the wedding pictures 1990-2010
Haeyoung Lee Dept. of Fashion design ㆍ business, Daejeon University, Korea
Since nuptials most develops for all ages and countries, the changes of Hanbok can be figured out just by looking at the wedding Hanbok in the specific ages. The photographs help appreciating the past visually and they play a role of cultural media that connect with the future. Since photographs of the costume research can figure out wearing figures and detailed forms, photographs can supplement the limitations which empirical data has. When researching the costume, photograph data helps interpreting the changes after 20 centuries in costume or phenomena as used as quantitative data. The data which can be used in the costume research includes collections or the photographs which individual owns. Therefore, the purpose of this research is to contemplate the changes of Hanbok which is represented in the wedding picture, and analyze the changes of forms and trimmings of items. The method of research was conducted based on theoretical background and then made use of the wedding picture as the reference data. The 330 photographs were collected mostly from the Hanbok specialty store A, B, C for this research. These photographs are mostly the wedding pictures from the 1990s and the early 2010s. The collected photographs were once more filtered out by three of the Hanbok experts in the way of picking out the photographs which regarded as not being suitable for the research or those which are almost similar, and finally 65 pieces among those were finally selected for the research. The results of the research which is about the changes of wedding Hanbok are as follows. First, the basic silhouettes and the forms in the Hanbok for the bride and groom haven't changed. Second, there were much changes of the composition of the items in the Hanbok for the bride and groom. Third, there were slight changes of details and colors in the Hanbok for the bride and groom.
130 H4
The Influence of 1960s' Introduction and Manufacture of Acrylic Fibers on Clothing & Textiles in Korea
† Meekyung Chung **Department of Practical Arts of Education, Daegu National University of Education, Korea
The purpose of this study is to provide objective data centered on the influence of advancement in scientific technology on clothing culture in Korea in the 1960’s after the introduction and manufacture of acrylic fibers. The contents of the research consists of: 1) development of acrylic fibers and its distribution, 2) introduction and manufacture of acrylic fiber in Korea in the 1960’s, and 3) the influences of the introduction and manufacture of acrylic fiber on clothing culture in Korea. To carry out the research, research papers, official publications from the government and fabric institutions, articles and advertisements on newspapers and magazines, and documentations gathered from various media including the internet. First, it can be said that acrylic fibers are often used as substitute for wool fibers. The research has first started in Germany in 1931. It was first manufactured in 1950 by an American corporation, Dupont Corporation, trademarked under the name ‘Orlon’. In 1951, acrylic fiber was also manufactured by another American company, Chemstrand under the name ‘Acrylan’. Second, the introduction of acrylic fiber in Korea was in the late 1950’s, with Japanese brands such as 아구리란(Agurylan), 카시미론(Cashimylon), and 엑스란(Exlan), which were wool-blended acrylic fabrics. In 1961, acrylic fiber yarns started to be produced, which led to the boom in exports of “acrylic sweaters”. Also, in 1965, the productions of ‘Acryl Knit Yarn’ started, which led to the manufacture of acrylic fiber in the late 1967. Acrylic fiber manufacture continued, adopting technology from Japan, by Cashmerylon(Hanil) and Exlan(Taegwang) using Japanese brands. Later, Hanil and Taegwang tradedmarked ‘Hanilon’ and ‘Acelan’ to produce next to polyester and nylon. Third, acrylic fiber has soft and yielding textures, carrying warm feeling and gentle gloss as wool fiber has. The acrylic fiber was huge innovation in Korean clothing culture, substituting expensive Wool Knit Yarns to acrylic products among the working class citizens. Looking at the influence of acrylic fiber in the Korean clothing culture, acrylic fiber was used in products such as day-to-day clothing, school uniforms, traditional clothing ‘hanbok’, socks, infant clothing, knitting threads, beddings, curtains, and carpets. It also influenced the way people handled clothings, such as the way they wash, store, and handcraft clothes. Several reminiscent items such as ‘red underwear’, ‘Cashimylon comforters’, and ‘mink blankets’ are examples of the influenced products of acrylic fibers. With statements above, it can be said that not only the introduction and manufacture of acrylic fiber in the 1960’s has played a crucial role in the economic growth of Korea, but it also has changed the entire Korean clothing culture by affecting adult clothing, student clothing, infant clothing, innerwear, socks, beddings, and interior goods to create a whole new living culture in Korea. Therefore, I propose to continue this study to research the projection of the influence from the introduction of carbon fiber, which currently is being developed based on the acrylic fiber.
† [email protected]
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132 H5
A Study of Shape and Tailoring of frock coat in the Korean Empire - Park Ki-jong’sFrock coat -
Eunjoo Choi Dept. of Fashion Design, Youngsan University, Korea
This research is about Park Ki-Jong’s Western Style Court Costumethat emphasizes the shape and style peculiarity of Western style court costume in Korean Empire from the 1876 Port Opening to the 1910 annexation of Korean to Japan . Mungwan(Civil officials) wore Western style official outfit(court costume) which was established by ‘Mungwan’s costume Law’ in April 1900.Western court costume was established in 1900 and it continued to the 1910 annexation of Korean to Japan. However, it was worn only on this period and it was eventually lost. Park Ki-Jong’s Frock coat was made effective on the period of the established law from 1900 to 1910.He was born at Pusan Don-guJwachun-dong in November 1839.His courtesy name was Hung- jin. His ancestral home was Milsung(Miryang). He felt the urgent necessity of accepting the modern culture. Hence, he set up a modernized education agency. He constructed an economic organization for Choson.And he established the first private train company for modernization and to cope with the invasion of Japan. The remains includedcostumes for Chigimgwan( 2nd Civil official’s position).He died in 1907. His photograph showed that he and many of his friends wore frock coat. Accordingly, the costume lifestyle of civil officials changed to western style that time. This set of dress was an informal dress of ‘Mungwan’s Costume Law in 1900 and it was informal dress in Europe at that time. It suggested that the frock coat set was worn for informal dress in the Korean Empire. And it was the Frock coat of the Soraebok (second formal dress) in revised ‘Mungwan’s costume Law’ in 1907. They were of the same composition except for the hat. The Soraebok (second formal dress) frock coat had to be worn when the officer had to go to a palace, a ceremony of national holiday, and a private visit ceremony. The Park Ki-Jong’s Frock coat was consisted of a frock coat, 2 vests, and slacks. This research investigated only about frock coat, but also learned about frock coat’s shape and structures, correct size, sewing method and offered the data for a historical research of the Korean Empire. 1.The brand (ASADA TAILOR) was attached on the nape. It wrote ASADA TAILOR and Kyung- Sung. Asada is a Japanese name. But it is difficult to verify where he is from. Because it was uncertain if he was a real Japanese or he changed over his name from Korean to Japanese. But if tailoring period was considered, perhaps he was Japanese because Japan imported Western costume. 2.The frock coat's materials were black wool fabric and black ridged shape silk. The shape was long at the front and back, picked lapel, double breast with 6 buttons to fasten and 2 buttons for decoration on the upper part.The lining's material was black plain silk and sleeve's lining was white with blue stripe silk. 3.The front separates the upper and bottom parts. The upper has side-waist-dart (13.5cm) on right and left sides. The bottom is made up of one piece A-line skirt that continues from front to back. The double breast part is connected with the center front part. The top of back is separated by the princess line and the center back seam is separated too. But the center back of the waist line is not separated and it continues to one piece.The center back has vent, left side over the right. The side bottom 133 continues to one piece skirt. The skirt side seam looks like side pleats (1.5cm). The wrapping button on each back waist holds the princess line. The sleeves shape is two-pieces sleeve style with phony vent and 2 wrapping buttons(13mm). 4.The dress is 101.8cm (back length 47.2cm) long, with 36cm back width, 56/41.5cm sleeve long, 47.5cm armhole, 8cm lapel and collar width, 7.7cm half back neck circumference. Because this research investigated only the remains, it did not satisfy the research about the Western style Soraebok (second formal dress). But this research made a close investigation of the frock coat as much possible as. The Park Ki-Jong's Soraebok(second formal dress) is same as the Soraebok(second formal dress) in revised ‘Mungwan’s costume Law’ in 1907. It was important historical remains of the Korean Empire. Because it set up full spec (frock coat, vest, slacks) except for the hat and preserved sets. Its value was very high then I will research about vest and slacks next time.
134 H6
Daily Hanbok Design Development by Applying Traditional Cloud Motifs
Hye Kyung Kim†, Jeong Hwa Hong Dept. of Fashion Design & Apparel Industry, Wonkwang University, Korea
I. Introduction The use of textiles becomes more extensive and variety of textiles with improved function and usage are mass-produced in these days. The trend for new textiles has been changed toward decorative purpose while existing textiles were more focused on practicability. As a result, textile design has become more important since the success of fashion products relies on the added value placed by textile designs as well as the materials. The variety of textile designs has been developed in the area of apparels, other fashion items, and interior decoration (Kim, 1991; Kim, 2007). Recently, textile design is considered as a conclusive factor for the value and fashion image of the fashion products. In Korea, the traditional beauty was inherited by creating decorative patterns in our everyday life and confering aesthetical and symbolic meanings on these patterns. Therefore, it is significant to understand the spirit and feelings implied in our traditional patterns and develop the patterns to express these Korean cultural heritage. There are many different kinds of traditional cloud motifs(雲 氣紋) such as wave motifs(水波紋) and mountain motifs(山岳紋) (Im, 1998). The cloud motifs expressing Korean traditional beauty have been used to symbolize eternity, happiness, and youthful dream and they were often used as supporting motifs in textile designs (Fig. 1).
Fig. 1. Cloud motifs
The jacquard is a general term for a patterned fabric woven with many colored yarns. Jacquard fabric has been known for its richness showing elaborate and colorful woven patterns and three dimensional appearance. It is considered as a fabric of highest grade and its consumption is steadily increased. Developing new jacquard pattern is necessary when considering the consumer’s tastes for fashion styles are diversified. Thus, the purpose of this study is to develop daily hanbok designs for both casual and formal occasions applying jacquard fabric with traditional patterns. This study will also develop jacquard textile designs with elaborate and luxurious patterns using cloud motifs and abundant expression of colors. Developing women’s daily hanbok designs will contribute to fashion business significantly by popularization of daily hanbok as one of the important fashion items inheriting Korean culture.
† [email protected]
135 II. Research Methods
The traditional cloud motifs selected from the traditional pattern book(Im, 1998) were modified by using ‘Photoshop CS4’ and ‘Illustrator CS4’ to be applied for jacquard pattern. The “Texpro Design CAD V8.21” program was used for the textile design. A total of two jacquard textile designs were developed using traditional cloud motifs. The colors selected from Pantone Color Chips were applied for each textile design. Two woman's daily hanbok designs were developed and these designs were consisted of sets of jacket and skirt. The actual garments were constructed and the design procedure and the photos of these works were presented.
III. Results
3.1 Textile design applying traditional cloud motifs 3.1.1 Design #1 A flying cloud motif(飛雲紋) was reconstructed to create the Design #1 expressing active and rhythmic image as well as modern feeling. For color way, Grape Wine(PANTONE 19-2315 TPX) was chosen for the surface color(the main color) and Bordeaux(PANTONE 17-1710 TPX) was used for the back side color to achieve an interesting color coordination particular to jacquard fabric (Table 1).
Table 1. Textile design #1 Flying cloud motif Pattern design Color way Textile design image
3.1.2 Design #2 A jewel cloud motif(寶雲紋) was reconstructed to create the Design #2 expressing illusive and mystic image by curved lines. For color way, Greener Pastures(PANTONE 19-6311 TPX) was chosen for the surface color(the main color) and Leaf Green(PANTONE 15-0332 TPX) was used for the back side color (Table 2).
Table 2. Textile design #2 Jewel cloud motif Pattern design Color way Textile design image
3.2 Daily hanbok designs 3.2.1 Design #1
136 The daily hanbok design #1 was performed applying jacquard textile design #1. The classical line of dang-eui(당의) was applied to express elegant and sophisticated image (Fig. 2).
3.2.2 Design #2 The daily hanbok design #2 was done applying jacquard textile design #2. The beautiful curved line shown in the sleeve and collar of conventional women’s hanbok was modified to express graceful and traditional image (Fig. 3).
Fig. 2. The photo of daily Fig.3. The photo of daily hanbok design #1 hanbok design #2
IV. Conclusion
This study attempted to develop daily hanbok designs applying jacquard textile designs using traditional cloud motifs. The color way used for these designs utilized the interesting appearance of the right and wrong side of the jacquard fabric. The actual daily hanboks were constructed to present the possibility of using these garments as women’s casual and formal wear. The textile designs applying traditional motifs can be utilized for the apparel items as well as other fashion products such as accessories and household items with high value added by originality and beauty of Korean traditional culture.
References
Kim, S. W. (1991). A Study on Modern Textile Design Utilizing Korean Traditional Patterns, M.S. Thesis. Sungkyunkwan University, Seoul. Kim, M. Y. (2007). A Study on Development of Fashion Goods Using Gisang Patterns: focusing on the Staubli Jacquard Machine, Master’s Thesis, Sungshin Women's University, Seoul. Im, Y. J. (1998). 한국전통문양 1-3 (The Traditional Motifs of Korea I-III), Seoul: Yewon.
137 H7
Necktie Design Development by Applying Hangul Motifs
Hye-Kyung Kim†, Mi-Kyung Chu Dept. of Fashion Design & Apparel Industry, Wonkwang University, Korea
I. Introduction Han (韓 ) style represents the globalization of Korean traditional culture including the Korean language (hangul), food (hanshik), costume (hanbok), house (hanok), Korean paper (hanji), Korean music, and so forth. Korea will heighten the value of its national brand and become a competitive nation on the global scale as a cultural powerhouse through marketing Han style. The anticipated effect of Han style is the improvement of the Korean premium and the increase of competitive value through the commercialization of Korean culture. The rise in employment through commercialization will expand the interest of the general public with the Han cultural movement. The Han (韓 ) in ‘Hangul’ was derived from the name, ‘Dae-Han-Jae-Kook (The Great Han Imperial Korea)’, which implies that it is the language of Korea (Choi, et al, 2008). Hangul is an exceedingly practical tool as a language and it also has an exceptional aesthetic quality (Kim, 2006). Even though hangul was invented over 500 years ago, it has one of the most scientifically advanced phonetic characters, giving it the ability to create countless number of sounds through the combination of consonants and vowels. As much as Korea’s global competitiveness improved by hangul, the exceptional potential hangul must be recognized. The global interests in hangul have been increased by some common hangul expressions such as ‘안녕하세요’, ‘고맙습니다’, ‘독도’, ‘동해’, and ‘아리랑’, which appeared in the European edition of the Wall Street Journal from 2010 to 2012. Many hangul words in various forms of calligraphy have been applied in the product designs including the designs of watch, bags, neckties, textiles, and home furnishings. Thus, this study attempts to apply hangul sentences such as ‘안녕하세요’, ‘감사합니다’, ‘사랑해요’, ‘고맙습니다’ in developing necktie designs by using the main colors of Korean national flag and Colors of Five Directions (五方色) in order to promote Han style fashion products.
II. Research Method
The hangul sentences chosen for textile design motifs were ‘안녕하세요 (‘How are you)’, ‘감사합니다 (Thank you)’, ‘사랑해요 (Love you)’, and ‘고맙습니다 (Thanks)’. The colors selected for these design are the main colors of the Korean national flag which consists of black, red, and blue with white background. The colors were chosen also from the traditional colors representing the Five Directions based on the principles of Yin and Yang. Using Adobe Illustrator CS4, eight motifs were developed and these motifs were applied to textile pattern design. As a final step, these textile patterns were applied to the necktie design.
† [email protected]
138
III. Results
The eight motifs from hangul sentences such as ‘안녕하세요’ (Design #1), ‘감사합니다’ (Design #2), ‘사랑해요’ (Design #3), and ‘고맙습니다’ (Design #4) and 5 colors including white, black, red, blue, and yellow from the national flag and the Five Directions (五方) were applied to create 16 pattern designs in developing 16 necktie designs as presented in Table 1-4.
Table 1. Necktie design #1 Motif image Motif application & pattern Necktie design
Table 2. Necktie design #2 Motif image Motif application & pattern Necktie design
Table 3. Necktie design #3 Motif image Motif application & pattern Necktie design
Table 4. Necktie design #4 Motif image Motif application & pattern Necktie design
IV. Conclusion
In this study, necktie design applying hangul, the major Korean cultural heritage, were developed to promote Han style and globalize Korean traditional culture. The commonly-used Korean sentences written in four different calligraphic forms were used as motifs for necktie textile patterns. Furthermore, in order to represent Han style effectively, the colors from the old Korean thoughts were 139 applied for necktie design. The results of this study will contribute to the globalization of Han style and hangul as well as promoting Han style products targeting international markets.
References
Choi, K. B., Shi, J. G., and Park, Y. J. (2008). Everything you need to know about hangul, Seoul: With books, p. 247. Kim, M. K. (2006). Hangul leading brand in the Republic of Korea, Seoul: Jawoo Publisher. p. 193.
140 H8
Pattern Design Applying Motifs from Baekje Relics of Mireuksaji Museum
Hye-Kyung Kim†, Hee-Kwan Jeon Dept. of Fashion Design & Apparel Industry, Wonkwang University, Korea
I. Introduction
Many countries in the world have tried to enhance the image of its own country utilizing cultural resources inherited from the past by developing fashion products representing the culture. Many researchers focused on the developing new cultural fashion product utilizing the resources from the local historic artifacts. These fashion products can create high added value promoting local economy by bringing national and international interests. Similar endeavor has been taken by using local relics excavated from historic sites. By analyzing the characteristics of relics found from the local historic sites, the fashion products presenting local culture can be developed effectively. Especially, analyzing patterns used in the relics has a significant meaning in terms of symbolism and thoughts which were melted in the lifestyles of the ancestors. Various patterns were used in the relics of Baekje era, including floral, animal, geometric, and other natural patterns (Seo, 2008). The analysis of motifs used in the relics from Mireuksaji, which is part of the Baekje cultural area located in Iksan, is important in developing pattern designs for fashion products representing local culture. There has not been much research done on pattern designs applying motifs found from Iksan historic sites. Therefore, the purpose of this study is to develop pattern designs applying the motifs obtained from the relics found in Mireuksaji.
II. Research Method
The motifs used in the relics from Mireuksaji in Iksan, the major city of Baekje culture, were gathered from the literatures, and photos were taken from the relics displayed and stored in the Mireuksaji Museum. And then, these motifs were analyzed to be reinterpreted and modified to modern forms. These motifs were stylized and developed into patterns using Adobe Illustrator CS4 and Adobe Photoshop CS4. In order to develop the pattern designs to be applied for the local fashion product designs, the colors were selected using the CMYK color way from the logo of Iksan.
III. Results
3.1 Patterns from Mireuksaji relics The various types of motifs and patterns were found from the relics excavated from Mireuksaji. Most of them were consisted of floral motifs including lotus, honeysuckle, chrysanthemum, and peony motifs. The animal motifs included crane and a bird of luck. There were also other motifs such as clouds, mask of devil, and human face. Each of these motifs connotes its own symbolic meaning. Lotus motif symbolizes life and prosperity; honeysuckle motif symbolizes longevity; chrysanthemum motif symbolizes a good omen and high fidelity; peony motif symbolizes wealth and beauty. Crane
† [email protected]
141 motif is one of the ten longevity symbols, which means purity and longevity; a bird of luck symbolizes a good luck and happiness. Cloud motif symbolizes longevity and King’s authority; Mask of devil motif was believed to protect people from devil’s harm (Gu, 2009). Mireuksaji relics that have patterns on them include sari (relics of Buddhist saint) container, rafter tile, concave tile, bowl, pillow, wall painting, and incense burner (Table 1). Elaborate patterns were appeared on the surface of sari container made of gilt bronze. These patterns were mostly consisted of floral motifs. Lotus motifs were found on the cap, neck, shoulder, and on the bottom part. Long continuous line of honeysuckle motif was found on the main body. On the tiles, various motifs such as lotus, honeysuckle, and human face motif were found. On the rafter tile, a mask of devil motif and a bird of luck motif were shown. On the bowl and pillows, many floral motifs like lotus, chrysanthemum, and peony were appeared. On the fragment of wall painting, honeysuckle motifs were found. A cloud motif was shown on the incense burner.
Table 1. Mireuksaji relics and patterns Relics Patterns
Gilt bronze sari container
Rafter tile
Concave tile
Bowl & pillow
Wall painting
Incense burner
(Mireuksaji Relics Exhibition Museum)
3.2 Developing pattern designs applying motifs from Mireuksaji The four basic motifs were created applying the lotus motifs, the chrysanthemum motifs, and the cloud motifs found on the gilt bronze sari container, the incense burner, and the bowl. The colors were selected using the CMYK color way from the logo of Iksan to reflect the local culture. After applying color, four basic patterns and four applied patterns were designed by repeating, rotating, and replacing the four basic motifs as shown in Table 2.
142 Table 2. Pattern design development Basic motif Color way Basic pattern Applied pattern
C10+M83+Y85+K1 C0+M43+Y88+K0
C81+M73+Y36+K21 C0+M56+Y16+K0
C29+M35+Y68+K2
C1+M16+Y93+K0 C0+M43+Y88+K0
V. Conclusion
This study aimed to develop pattern designs expressing the beauty of Baekje culture by applying unique characteristics of motifs found from Mireuksaji. The pattern designs developed in this study will contribute in promoting the Baekje culture and providing cultural goods for local festivals to improve the economic competitiveness of the area. Developing cultural fashion products applying pattern designs based on the local cultural heritage can make a significant impact on the establishment of the Baekje cultural identity and competitiveness of the region.
References
Go, S. W. (2009). Digital Pattern. Seoul: Gulnurim. Seo, M. Y. (2008). A study on the patterns of Baekje accessories. Journal of the Korean Socitey of Costume, 58(8). 13-29. Mireuksaji Relics Exhibition Museum, Retrieved April 5, 2013, from http://www.mireuksaji.org
143 H9
The Generational Effect in 1980s Baby and Toddler Clothing Fashion in the United States
Jo B. Paoletti *․ Hye-Kyung Kim**† *American Studies Department, University of Maryland, United States of America **Department of Fashion Design and Apparel Industry, Wonkwang University, Korea
I. Introduction
Baby and toddler clothing in the United States has grown steadily more gendered since the beginning of the twentieth century, except for one brief period in the 1970s. Unisex clothing (at its height between 1972 and 1978) stands out as a significant pause in this overall trend. Even after gendered styles were re-introduced in the late 1970s, gender-neutral options remained a popular alternative. But as swiftly as it had appeared, the unisex trend faded in the mid-1980s. Neutral styles for infants were reduced to a very small part of the market between 1982 and 1986, and by the mid-1990s styles for toddlers and young children were more gender specific than they had been in the 1950s, with fewer and fewer neutral options. One possible explanation for this shift is demographics. This paper will offer analysis of a shift in the age of first-time parents between 1975 and 1990 by birth cohort and compare it with a significant style changes.
II. Research Methods
2.1 Assumptions and Argument Interpreting changes in children’s fashions poses a challenge to dress historians because adults, rather than the wearer, make the purchasing decisions. We may assume that adults buying clothing for babies and toddlers are influenced not only by current trends but also by their own childhood memories, likes and dislikes. Using a close study of shifts in gendered details in infant and toddler fashion and demographic shifts in the age of first-time parents, we argue that a generational lens can be a useful perspective for the study of children’s clothing.
2.2 Evidence Primary sources included the fall and spring catalogs of the Sears, Roebuck and Company from 1970 to 1990, and Earnshaw's Infants, Girls and Boys Wear Review for the same years. Birthrate and cohort data are available for these years from the U.S. Bureau of the Census.(U.S. Census Bureau 2011) The Sears catalogs represent a major mainstream retailer during that time period and provided hundreds of images and descriptions, where were coded and analyzed using a modified form of content analysis.(Paoletti 1982)
III. Results and Discussion
3.1 Changes in infant and toddler clothing.
† [email protected]
144 At the height of the unisex era (between 1972 and 1978), differences between the sexes were intentionally obscured. Boys sported long hair and wore boldly patterned shirts and pants; girls wore pants, even for school. Sears, Roebuck and Company carried no toddler clothing in pink from 1976 to 1978. Many articles of clothing were designed and sized for both boys and girls. For a while, it appeared that gendered clothing was a thing of the past and that children were, in the words of a popular song, “Free to be You and Me”. Neutral options remained popular, especially for very young children, through the early 1980s. Then the availability of neutral styles for infants suddenly plummeted between 1984 and 1986. Even in newborn sizes, boys’ clothing was not simply blue, but blue with masculine motifs such as a truck or football, and the last traditional “baby” elements such as round collars and smocking were eliminated from boys’ fashions and re-cast as feminine. Hospitals reported a sharp increase in the frequency of ear piercing for baby girls; about the same time that headbands and baby barrettes appeared in stores and Luvs introduced pink and blue disposable diapers. Infant clothing departments – across a cross section of market targets from modest to designer -- offered more gender-specific styles and fewer neutral options. Pastel colors returned to the infants’ department.(“Direction’88”, 1988) The re- gendering of clothing for toddlers and older children lagged behind by several years; neutral options were still available in larger sizes through the early 1990s.
3.2 Demographic shifts One possible explanation for this shift is demographics. Between 1980 and 1990, the proportion of births to first-time parents shifted from baby boomers (b. 1946-1964) to generation Xers (b. 1965- 1982)(Table 1). This generational perspective matters because of the huge difference between being a 23-year old choosing gender-bending clothing for her or himself in 1975 and having unisex clothing selected for you as a three- year-old. This suggests that the children of the seventies became parents likely to prefer gendered clothing for their own offspring.
Table 1. Birth Cohort of First-time Parents Birth cohort Age in 1975 % 1980 births %1985 births %1990 births 1961-1975 0-14 <1 43 71 Mother 1946-1960 15-29 79 56 29 1961-1975 0-14 0 24 53 Father 1946-1960 15-29 82 71 47 (U.S. Census Bureau 2011)
IV. Conclusion
The results suggest that the primary agents of change in children’s fashion in the 1980s were parents of infants, particularly first-time parents. It is possible to plausibly reconstruct some of the effects of the unisex trend on children’s construction of gender identity by observing their fashion preferences as adults. First, in the late 1970s and early 1980s, they traded their own neutral fashions in a nostalgic return to “classic”, more gender-distinct styles. Then, they began to influence baby clothing as they became parents. The 1970s girl who had worn plain corduroy overalls over a striped turtleneck grew up dress her own daughter in pastels and ruffles and add a stretchy headband to the outfit when they went to the mall, just to make sure everyone knew the child was female.
145 References
“Direction ’88.” 1988. Earnshaw’s Infants, Girls and Boys Wear Review, February. Paoletti, Jo B. 1982. “Content Analysis: Its Application to the Study of the History of Costume.” Clothing and Textiles Research Journal 1 (1): 14–17. U.S. Census Bureau. 2011. “1951 - 1994 Statistical Abstracts.” Accessed March 21. http://www.census.gov/prod/www/abs/statab1951-1994.htm.
146 H10
Fashion Items Originated from India in Vogue Magazines from 1960 to 1975.
Hye-Kyung Kim† Dept. of Fashion Design & Apparel Industry, Wonkwang University, Korea
I. Introduction
The American culture from 1960 to 1975 was fascinated by exotic styles originated from many Eastern countries in areas of music, philosophies, and also fashion styles. The fashion items borrowed from the East were often associated with the hippie movement lead by the youth (Horn, 1975). In the late sixties, the youth had a great influence on fashion and they adopted many exotic designs. American youth was often seen wearing fashion items originated from India and many Indian shops were found around college campuses. The youth fashion of this period had a considerable effect on the mainstream American fashion (Kemper, 1977). Intellectuals and popular musicians of folk and rock & roll music had interests in Indian culture and they were frequently covered by media and followed by the youth. Beatles whose music contributed greatly to the American culture introduced Indian elements into the American musical form of rock & roll. And they were widely followed by the Americans. Due to this cultural phenomenon, fashion styles during this period were influenced by various ethnic styles originated from many Asian countries. This study aimed to examine the fashion items originated from India as appeared in Vogue magazines in the period from1960 to 1975 to determine how these styles of youth affected American women’s fashion in general.
II. Research Methods
The fashion items of Indian origin were collected from both visual and linguistic elements found in the illustrations and advertisements of all the issues of Vogue magazines published from 1960 to 1975. The unit of analysis was a single fashion item illustrated or described in an advertisement. The information on the name of the Indian object and the name of the clothing item was obtained to be used as primary data. The frequency of appearance of Indian fashion items was counted with predetermined categories. These categories consisted of specific classes of Indian fashion items and descriptions of content. Descriptions for each illustration and advertisement were analyzed and categorized into one of two groups- domestic or imported. An item was categorized as ‘imported’ from India if the description overtly stated that it was imported from India. If the fashion item showed apparent Indian style and used Indian term and the description suggested Eastern origin such as oriental or exotic, it was considered as a ‘domestic’ item.
III. Results and Discussion
The total number of 125 Indian fashion items appeared in Vogue magazines from 1960 to 1975 and these were chadar, chooridars, chalwar, dhoti, Indian shirt, Indian blouse, Indian dress, Rajah dress,
†[email protected]
147 Rajah tunic, sari, sari cloth, Indian cap, Indian jewelry, Indian sandal, Indian scarf, turban, and caste mark. The 17 different Indian originated items were found in Vogue from this period. These 17 items were consisted of 10 clothing items and 7 accessory items including headdresses, shoes, jewelry, and makeup. Turban and Indian jewelry were found to be the most popular Indian items appeared in Vogue. Chalwar (Fig. 1) is voluminous trousers worn by Mohammedan men in Northern India and it appeared only in 1965. Chooridars (Fig. 2), voluminous trousers worn by Mohammedan women in India, appeared in Vogue between 1964 and 1970. Dhoti(Fig. 3) is a men’s traditional garment consisting of a long piece of cloth draped around the lower body (Hacker, 1982), which appeared in Vogue between 1967 and 1969. Indian shirt and blouse were made of either block-printed or embroidered Indian fabrics and they appeared in Vogue between 1969 and 1973. Indian dress showed similar design and cut as other upper body garment such as Indian shirt and blouse, and appeared only in 1970. The only difference was in the length of garments. Rajah, derived from ‘Maharajah’, dress is a women’s short or long dress with a standing, rounded collar embroidered borders around neckline and hemlines. A Rajah tunic (Fig. 2), a short version of the dress, was designed to be worn with pants. Rajah dress and tunics appeared in Vogue for a long period between 1961 and 1969. Sari (Fig. 4) is a Hindu women’s outer garment consisting of a long length of cotton or silk wrapped around waist. Sari or sari cloth is also used to mean the fabric used for such garment, often silk interwoven with gold and bordered in floral designs. Sari cloth appeared in Vogue for the longest period between 1960 and 1974. Four different kinds of headdresses were found including, Chadar, Indian cap, Indian scarf, and turban. Chadar is a headcloth worn by all Mohammedan women in India and it appeared in Vogue briefly in 1967. Indian cap (Fig. 5) is a multi-colored embroidered cap worn by women and men in India. A mirror-embroidered cap imported from India appeared in Vogue in 1970. Indian scarves were worn both men and women in America and they were decorated with Indian hand block prints, usually of silk. It was shown in Vogue for a long period between 1962 and 1975. Turban worn by Indian men consists of a long length of fabric wound around the head. Turban was a popular hat worn by women in the West in the 1930’s. It appeared in Vogue between 1960 and 1968, mostly in the early sixties. Indian jewelry (Fig. 6) appeared in Vogue was either imported from India or made in the United States with Indian influenced designs. Some jewelry has a bell or a number of tiny bells attached to it. Various kinds of Indian jewelry appeared in Vogue between 1963 and 1970, including earrings, rings, necklaces, bracelets, anklets, bangles, and even jeweled belts. Indian sandals were made of water buffalo leather and consisted of a sole held on to the foot by thongs over the first toe and they are worn both men and women in India. Indian sandals appeared in Vogue in the early sixties from1960 to 1961. Caste mark is a red mark worn in center of forehead by women of India, originally to symbolize and identify caste membership, appeared in Vogue only in 1969. The peak periods of Indian fashion items as a whole was 1968 to 1970, which coincides with the popularity of Indian culture shown among the youth. The seven items including Chalwar, caste mark, chadar, Indian dress, Indian blouse, Rajah dress, and Indian cap appeared briefly within one year and they can be considered as fads. Of all the items found in Vogue, 96 percent were made in the U.S., attributing Indian origin in the description, while only 4 percent were identified as imported from India. Some items from sari, sari cloth, Indian scarves, turban, chooridars, and Indian jewelry were imported from India. And all Indian sandals and caps were imported from India.
148
Fig. 1. Chalwar and Turban Fig. 2. Rajah Tunic and Chooridars Fig. 3. Dhoti Dress (Vogue, 1965) pants with Turban (Vogue, 1965) (Vogue 1968)
Fig. 4. Sari Fig. 5. Embroidered Indian ca Fig. 6. Indian Jewelry (Vogue, 1969) (Vogue, 1 (Vogue, 1968)
IV. Conclusion
This study attempted to identify Indian fashion items appeared in Vogue magazine from 1960 to 1975. The results of the study indicated the wide appearance of Indian fashion items in Vogue during this period. The seventeen different Indian items including clothes and accessories were noted in Vogue during this period. Most of these Indian fashions were designed and made in the U.S., not like the youth adopting the clothing items directly imported from India. The result conformed that fashion change of the sixties and early seventies reflected the change in social environment in the U.S. The time of strong influence of the youth culture and its interest in Indian culture was concentrated in the United States during the time period between 1960 and 1975, with its peak around the late sixties. Although the time of popularity of Indian fashion items observed in Vogue corresponded to the youth movement interested in Indian culture during this period, they differed in style.
References
Hacker, Katherine F. (1982). Courtyard, Bazaar, Temple: Traditions of Textile Expression in India. Seattle, Washington: University of Washington Press. Horn, Marilyn J. (1975). The Second Skin. 2nd Edition. Boston: Houghton Mifflin Co. Kemper, Rachel H. (1977). Costume. New York: Newsweek Books.
149 H11
Shroud Preparation Practice and Related Symbolism in Contemporary Korea
Hye-Kyung Kim† Dept. of Fashion Design & Apparel Industry, Wonkwang University, Korea
The shroud preparation practice in Korea can offer important information on the ideas related to the ritual reflecting Korean traditional culture. The shrouds currently used by many Koreans were known to show the continuity and preservation of cultural tradition of the Yi dynasty. One of the salient ideas of the Korean traditional shroud was rooted in folk beliefs concerning death. It was thought that the soul of the deceased transmigrate to the afterworld. This implies that many Koreans believed immortality of the soul. In addition, the practice of preparing shrouds has symbolic meanings related to traditional religions and ideology. This study attempted to examine the current shroud preparation practice performed by Koreans and the ideas and symbolic meanings connected to this practice. The literatures on historic shroud were reviewed regarding color, fabrics, and the number of items included in one set of shroud and the names used for each item. Based on the questionnaire built from the literature review, the primary data was obtained from the personal interviews done from July 1 to October 30, 2012. A total 30 direct interviews were performed with the persons who had experiences in preparation of shroud from the capital area or Jeonbuk regions. It was interesting to note that the shroud preparation practice was appeared in a diverse form. Most interviewees answered with different names for each shroud item and the total number in a shroud set varied widely. The total number items in one set of shroud ranged from 9 to 15 for men’s and from 6 to 13 for women’s. The shroud became simplified in the number of items when compared to the traditional shroud of the old days. Some shroud items which were used to be essential in the Yi dynasty were not included in the current shroud. The names used for some shroud items were not consistent among the interviewees. In general, as an overcoat, durumagi (두루마기) or dopo (도포) was used for men; wonsam (원삼) or dangeui (당의) for women. The shroud items for upper body were jeogori (저고리) as an outerwear and sokjeogori (속저고리) as an underwear for both men and women. For a lower body, baji (바지) as an outerwear and sokbaji (속바지) as an underwear were used for men; chima (치마) as an outerwear and sokchima (속치마) as an underwear for women. For a headdress, mang-gon (망건) or dugon (두건) was used for men; yeomo (여모) or jokduri (족두리) was used for women. The socks called beosun (버선) was used under the shoes called shin (신), for both men and women. The hand covers called 마녀 (악수) was used for both men and women. Other than the items covering the body, a sleeping pad called yo (요) and bedclothes called eebul (이불) were also included in both men’s and women’s shroud. It was noted that hemp cloth, the material traditionally used for shroud, was used most often for shroud fabric in these days. The fabrics made of natural fiber such as hemp, silk, or cotton were preferred to the synthetic materials such as acetate and blended fabric of polyester and cotton. The most popular color was white or light yellow, a color of unfinished hemp cloth.
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150 Finally, it was found that many complicated ideas and symbolic meanings were involved in relation to the preparation and use of shroud. Various superstitious beliefs and taboos were expressed about the process of shroud preparation in terms of the time of purchase, selection of material, and sewing technique. Some of these taboos include: do not make a knot at the end of thread during sewing, do not use a double stitch method, and do not attach a collar. All the interviewees agreed to say that it is good to have the shroud made in a leap month. The various reasons were presented for this practice by the interviewees. The idea of ancestral worship and the clear distinction between sexes were implied in the shroud practice, which reflects the religious beliefs of Confucianism, the most influential philosophy in the Yi Dynasty. The old traditional ideas such as Buddhist ideas of the next world and the mythological idea of life after death were also continued to influence the ritual of current culture. Most of these thoughts and beliefs concerning shroud reflect the symbolism inherited from the ancient Korea.
151 H12
A study Historical Reconstruction of Empire style Robe in France for the Early 19th Century
*† ** Yang Hee Kim ․ Ji Hye Lee * Dept. of Fashion Design & Textiles, Inha University, Korea ** Dept. of Clothing & Textiles, Inha University, Korea
The empire style robe similar to the clothing style of ancient Greek was in vogue during the early 19th century, reflecting the conformity to the art trend of neo-classicism arising from the quest for the pure spirit of ancient Greece after the French Revolution and the pursuit of frugal, pure and natural clothing culture based on the alignment with a new zeitgeist(spirit of the times) such as the 'return to the nature' advocated by Jean-Jacques Rousseau. Characterized by the non-exaggerated and straight H line silhouette of high waist, the empire style featured the deep-cut U-shaped or square-shaped neckline and short puff sleeves or the fitting sleeves with narrow width and long length. These types of clothes were made primarily from linen muslin, silk satin, crepe, etc., which are smooth and thin textile. The velvet and wool textiles had found the applications in clothes tailored for a handful of people who belonged to upper class, particularly in cold weather. The skirt support completely vanished, suggesting the emergence of a new trend reflecting the zeitgeist where the shape of human body was followed. This researcher examined the shapes of the empire style clothes with reference to pictorial materials and clothes/ornaments which had been preserved, and by doing so, determined the model for production based on historical investigation. In addition, this researcher produced the patterns in textile through the muslin three-dimensional tailoring method by referring to the literatures related to the patterns at that period, the preceding studies on the historical verification of the patterns and sewn products. The results of this study will provide the basis for determining the precise structure of the clothes and ornaments in the concerned period and will be useful for the production of fashion design and costumes for performance art. The model for the experimental clothes was selected through the investigation into the shapes of the clothes based on the materials such as the paintings, clothes/ornaments which had been preserved, and preceding studies on the production based on the historical verification and sewn products, etc. The empire dress had the waist line determined below the chest, and therefore, was set to measure 93cm in chest circumference, 169.3cm in total length, and 123.2cm in width of dress, regarding the dimension. Three different materials, such as wool, silk, yarn, were used for the production in order to show the shapes realized by different physical properties. The one-time fit in human body and ligament was examined with reference to the photos of the preserved clothes/ornament, pictorial materials in the preceding studies based on the model selected after the production. It was refined and completed by the sewing finish, and then the pattern was revised for the refined item, which was followed by the presentation of final pattern via CAD. The results are as follows: In the first place, the base line and the shape line were marked for the three-dimensional tailoring. The length of the frontal center in bodice measured 10cm, which became horizontal at the point located 5cm under the chest line, and therefore the line connected up to the centerline became the
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152 waist line of the model. The armhole circumference had a shape with the frontal part being cut broadly and deeply towards the rear while the rear part was cut in the same way towards the center. The neckline was connected naturally upward from the frontal centerline to the armhole line. The back length at the rear center was set to 15cm, forming a natural line from the point spaced 2cm apart along the waist circumference, through the point spaced 2.5cm downward from the upper area of the back center, to the point spaced 8cm vertically. The line ran parallel to the chest line over the back center, and had a rising curve to start the back neckline. The line and arm hole line -- where the shoulder strap would be secured -- were drawn to finalize the back sheet. The point spaced 1.5cm over the chest line of body's lateral line and the point spaced 5cm downward were marked and connected to the back sheet. The natural armhole curve was connected up to the point spaced more than 5cm apart from the shoulder line and then was marked. The neckline was marked naturally along the marked armhole, starting from over the lateral line of front sheet. However, the armhole line and the neckline around the shoulder was spaced 2.5cm apart from each other and then marked. The shoulder line connecting the back sheet and side sheet formed a rectangle measuring 2.5cm in length and 10cm in width. After completion, it was found to consist of 1 bodice front sheet, 2 side sheets, 2 rear sheets, 2 rear shoulder line sheets, 2 frontal shoulder line sheets, 2 sleeve sheets for both arms, 2 sleeve cuff sheets, 2 frontal skirt sheets, and 2 rear skirt sheets. Meanwhile, the selvage consisted of the front center of bodice, lateral line, rear center, sleeve center, front center of skirt and rear center of skirt. The sleeve had broader armhole and more gathers at the rear, compared to the front section. In addition, the hem line of sleeve was designed to have the gathers, creating the puffs in narrow cuffs. The skirt was designed to be 140.5cm long at the front center, 143cm long laterally, and 158cm long at the rear center. The skirt width measured 74.1cm in the front sheet and 46cm in the rear sheet, and had the dense gathers at the waistline.
153 M1
The Perception of Luxury Consumption Value according to the Types of Consumers based on Self-construal and Regulatory Focus
Soo Jin Kim*․Yoo Jin Kwon**† *Dept. of Home Economics Education, Chonnam National University, Korea **Dept. of Home Economics, Korea National Open University, Korea
This study is to investigate luxury consumption values and luxury consumption behaviors, specificallyfocusing on group differences according to the types of consumers based on self-construal and regulatory focus. Self-construal refers to how people perceive themselves to be linked(or not) with other people(Markus and Kityayma, 1991). There are two types of self-construal. People with predominantly independent self-construal see themselves as independent and autonomous as distinct from the group. They tend to place high value on uniqueness, individual accomplishments, and achievement. People with predominantly interdependent self-construal see themselves as part of a large group. They value connectedness, conformity, and group harmony; and place a high value on safety and security. Each type of self-construal leads to a different motivation. (Aaker and Schmitt 2001; Kampmeier and Simon 2001). A regulatory focus theory explains the relationship between the motivation of a person and the way in which the person pursues to achieve the goals. According to the theory(Higgins, 1997, 1998), there are two ways to achieve a goal. A prevention focus is concerned with avoiding mismatches to the goals of safety and security, whereas a promotion focus is concerned with approaching matches to the goals of advancement and accomplishment. Research has found that the tendencies of the independent self toward self-enhancement through achieving success and demonstrating how one is positively distinct are consistent with a promotion focus, and the tendencies of the interdependent self toward self-improvement through being aware of potential mistakes that may preclude one from assimilation with others are consistent with a prevention focus. The current study collected survey data from 245 adults who experienced purchasing of fashion luxuryproducts in two cities of the West in the United States. Three hundred questionnaires were distributed and 245 responses were used for analysis. The sample consisted of 189 female (77.1%) and 56 male (22.9%). There were 214 respondents in their 20s (87.3%), 31 respondents in their 30s (12.7%). In terms of ethnicity, the sample includes 150 Caucasians (61.2%), 65Asians (26.5%), 16 Latinos (26.5%), 2 African-Americans (0.8%), and 12 respondents checked as others (4.9%). For instruments, self-construal was measured by 24 items based on the scale bySingelis(1994) scale. Regulatory focus was measured by 10 items based on the scale by Higgins et al.(2001). Luxury consumption value was measured by 48 itemsbased on previous research (Vigneron& Johnson, 2004; Smith & Colgate, 2007; Mathwick et al.,2001). Factor analysis presents two dimensions of self- construal and regulatory focus, which is consistent with literature: independent and interdependent self-construal and promotion and prevention regulatoryfocus. Eight dimensions of luxury consumption value were identified: social value, life enhancement, materialism, conformity, self- identity, uniqueness, self-gift, and pleasure. Based on the self-construal andthe regulatory focus, cluster analysis was conducted. The cluster analysis presented three groups.We named the groups as Interdependent self (IT), Independent self
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154 (ID), and Ambivalent self (AB) group. IT group is a group with the highest mean for interdependent self-construal and prevention focus andthe lowest mean for independent self-construal and promotion focus. In contrast, ID group is a group with the highest mean for independent self-construal and promotion focus andthe lowest mean for interdependent self-construal and prevention focus. AB groupscored in-between IT and ID group in all for variables.IT and ID group was named based on literature on self-construal and regulatory focus. We named AB group because this group hold features that are often considered mutually exclusive: interdependent and independent self-construal. To understand the characteristics of the three groups with regard to luxury consumption, the value perception and buying behaviors of luxury products were examined with ANOVA and Duncan test. TheIT groupand ID group showed sees values from luxury products differently. TheIT group perceived high in social value, life enhancement, materialism,and self-gift, whereas theID group perceived high in uniqueness, and self-identity. The results suggest that,among various luxury values,social value, life enhancement, materialism, and self-gift arerelated to interdependent self- construal. Luxury products would bemore appealing to the IT group, if marketing is tuned toconnectedness, conformity, and group harmony and to avoid mismatches to the goals of safety and security. On the other hand, uniqueness, and self-identity are luxury values related to independent self-construal. For theIDgroup, marketing efforts should be made to achieve these values with approaches to match the goals of advancement and accomplishment. There was no group difference in pleasure and reference. Luxury value perception of the AB group was interesting.Among values associated with interdependent self-construal, only social value of this group scored in-between the IT and ID group; life enhancement and self-gift scored lower than the IT group; materialism was as high as that of the IT group. Among values associated with independent self-construal, uniqueness scored as high as the ID group; self-identity scored lower than the ID group. In other words, materialism and uniqueness was perceived high by a large group of people. In terms of loyalty, price of past purchase, willingness to pay, involvement, and frequency of purchase, theIT group showed the highest score, which makes this group of consumers the best target market. TheID group also makes a good target market. Although they are not high in loyalty to luxury brands, they still scored thehighest in frequency of purchase and the second highest in involvement. The results suggest that they be a good potential market, with the right marketing strategies, The significance of this study lies in discovering relations of various luxury values and self- construal. For luxury industry in the global marketplace, marketing with luxury values such associal value, life enhancement, materialism, and self-gift would be appropriate for Asian consumers who are known to be strong in interdependent self-construal. On the other hand, marketing with luxury values such as uniqueness and self-identity would be appropriate for Western consumers who are known to be strong in independent self-construal. Previous research focused on dissecting effects of each type of self-construal either by investigating priming effects or individual differences. Little research paid attention to a condition under which both types of self-construal co-exist. As luxury market is expanded to wider segments of population, it would be advantageous to utilize materialistic value and uniqueness of luxury products in order to appeal to a wide range of consumers such as in billboard or newspaperadvertisement. (Information of references is available upon request.)
155 M2
Demographic Differences between Black Friday and Cyber Monday Shoppers and Non-Shoppers
Hyun Ju Kwon†, Thomas M. Brinthaupt Middle Tennessee State University, USA
In the United States, Black Friday (the day after Thanksgiving) and Cyber Monday (the weekend and Monday following Thanksgiving) represent the largest shopping periods of the year, marking the traditional start of Christmas holiday shopping. In 2012, U.S. shoppers spent an estimated $59.1 billion and over 307 million people visited brick-and-mortar stores (Fox, 2012) during this period. Despite the popularity of these seasonal shopping events, there is surprisingly little research on the characteristics of Black Friday and Cyber Monday shoppers. In this study, U.S. college-student participants (N = 1,216) provided a variety of demographic information as well as whether they had shopped during the most recent Black Friday or Cyber Monday seasonal shopping events. Demographics included age, gender, race, political party and orientation, sexual orientation, religious membership and participation, and marital/relationship status. Analyses comparing shoppers to non- shoppers revealed several areas of difference in demographic categories. In particular, compared to non-shoppers, Black Friday shoppers (n = 449, 37%) were more likely to be female, younger, Catholic, frequent church attendees, and single. Cyber Monday shoppers (n = 102, 8%) were more likely to be younger and Catholic than non-shoppers. Implications of these results for seasonal shopping events and retail promotion are presented.
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156 M3
Transaction Cost Approach to the apparel sourcing strategy from Kaesong Industrial Complex
Yong Ju Kim† *Dept. of Fashion Design, College of Arts, Hansung University, Korea
Fashion firms in global context have confronted very severe economic depression. Consumers tend to buy fashion items based on values and product life cycles have shortened extremely. Therefore, in the current global fashion environment, fashion firms seek to develop sourcing strategies that provide cost competitiveness. In general, low cost production factories tend to be located in far from headquarters or consumer market. However, Kaesong Industrial Complex is located within one hour apart by road and labor cost was relatively low and quality level was good. For instance, labor cost in Kaesong was $135 by April, 2013 compared to $350 in China, $200 in Vietnam, $120 in Myanmar. In addition to the advantages of labor cost, low communication barriers, close physical proximity, and governmental assistance have induced Korean fashion firms produced in Kaesong Industrial Complex. As a result, total 123 firms had operated factories in Kaesong Industrial District and 81 firms (65.3%) were fashion related ones; 72 firms were apparel/textiles and 9 firms were watches related. However, total costs related to sourcing include not only production costs including labor, material, transportation, tariffs, and insurance but also non-production cost related to the transaction. Transaction cost analysis proposed by Willamson (1981) treats ‘the transaction’ as the basic unit of analysis instead of ‘the commodity’, and ask what costs are involved in completing tasks under alternatives that vary in terms of control. In May of 2013, all facilities in Kaesong Industrial Complex have shut down and damage estimated $1.2billion by the committee. The figure includes not only product values left to Kaesong, investment facilities, but also compensation for the loss and/or damage to the buyers and loss of potential sales. The purpose of this study is to review the sourcing strategy from Kaesong Industrial Complex in terms of the transaction cost. For data collection, the list of firms was extracted from three sources (http://www.gaesong.net/korean/portal.php, http://www.kidmac.com/, 2012 report from Kaesong Industrial District Management Committee) and their company profiles and business practices (the foundation year, starting year in Kaesong, product types, dollar amount of investment, customer type, size of facilities) were used. Also, industrial report and newspaper articles were reviewed to analyze the source of transaction costs. Data of total 81 fashion related firms was analyzed by the starting year in Kaesong Industrial Complex and product types. As results by analyzing articles from media and reports, the most important incentive sourcing from Kaesong Industrial Complex was low production cost, especially labor cost. Monthly wage was lower than China, Vietnam, Indonesia etc. but the labor cost considering productivity is much lower than these countries. Because productivity in Kaesong was fairly high due to the quality of labor, strict control of working environment and good communication. Second, total logistics costs including transportation cost and inventory cost, customs related cost were also lower than other import countries. However, other non-production cost related to sourcing from Kaesong Industrial Complex extremely high, mainly caused by uncertainty especially political risk (ex.12.1 disciplinary measures in 2008, the Cheonan sank in 2010, shutdown in April, 2013). Consequently, it caused financial loss
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157 (ex. abandoned final product, investment in facility, etc.) and also transaction related costs (ex. Bust- up fees with buyers, loss of potential sales) increase. Result of analyzing company profiles showed that average years in fashion business was 22, average years in Kaesong was 6, and investment dollars was 4.5 billion won in average. In terms of product types, 59% was apparel, 12.8% was shoes, and 6.4% was watches. In terms of business types, 71.1% do OEM/ODM productions and 61% do only OEM/ODM without their own brand. It means they are more vulnerable by the political risk because they have no control power over the distribution channel at all. Comparing the business practices by the first moving in year from 2005 to 2011, average year in fashion business of movers in 2005 was higher than others. Investment dollar volumes of 2005 and 2006 movers were higher than those of 2007 and 2008. On the other hand, fahionability of products was lower in 2005 movers than 2006~2009 movers. It means company’s cumulative experience in fashion business and long expected product life reduce risks sourcing in Kaesong, and it lead to great scales of investment. In conclusion, fashion firms must consider total transaction costs including production costs and also non-production cost in integrate manner because risks related to sourcing increase costs in the long-term perspectives. Especially consistently shortening the product life cycle can increase the risks and total costs. Therefore, fashion firms manufacturing in Kaesong must build contingency plan including substitute sourcing factories
158 M4
Role of K-Pop Celebrities in Creating Korean Apparel Brand Attitudes for Chinese Consumers
† Eun Young Kim Dept. of Fashion Design Information, Chungbuk National University, Korea
With the Korean wave, K-Pop celebrity endorsement has attracted a lot of attention over the world. This study identifies the importance of K-Pop celebrities in creating Korean brand attitudes of apparel as perceived by Chinese consumers. Pretest selected four K-Pop celebrities (e.g., Girl’s generation, F(X), Miss A, T-ara) based on popularity and familiarity in China. For collecting data, a self- administered questionnaire was developed based on existing scales and was translated from Korean to Chinese version. Participants were asked to list a Korean apparel brand that are the most familiar and answer the questions regarding K-pop celebrity traits, and assess human brand attachment, brand attachment and purchase intention if the Korean fashion brand would be sponsored by K-pop celebrities. A total 226 usable responses was obtained from Chinese female aged 18 to 32. For data analysis, descriptive analysis, factor analysis, and regression analysis were conducted via using SPSS 12.0. The results showed that the K-Pop celebrity traits consisted of three factors: trustworthiness, attractiveness, and expertise. The human brand attachment to the K-pop celebrities was significantly determined by the three factors of K-pop celebrity traits. The human brand attachment was predicted by the K-pop celebrity traits. Especially, the trustworthiness was the most highly related to human brand attachment among Chinese females. Also, Korean brand attachment was significantly predicted by the attractiveness and expertise as perceived by Chinese females. Of celebrity traits, the attractiveness was more likely to encourage the sponsored Korean brand attachment, than was the expertise. In addition, the Korean brand attachment was more likely to increase the purchase intention than was the human brand attachment. The results provide an insight that K-Pop celebrities play an important role in creating brand attitude toward Korean apparel brand among Chinese consumers. Therefore, managerial implication was discussed for global branding of Korean apparel products and developing a strategic marketing in the Chinese market from a global perspective.
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159 M5
Clothing Consumption Attitudes and Practices depending on Clothing Life Styles and the Dependency of Income among Korean University Students
Jung Hoon Kim Institute for Better Living, Wonkwang University, Korea
The purpose of this study is to understand attitudes and practices toward clothing consumption and clothing life styles of Korean university students and to explore the differences in clothing consumption attitudes and practices depending on the types of clothing life styles. A total 98 university students completed the survey during October, 2012. The sample consisted of 47 male students (48.5%) and 50 female students (51.5%). These students tended to be about 21.55 (SD=1.63) years old. Collected data set was statistically analyzed by SPSS computer program. Frequency, Mean, t-Test, and an Exploratory Factor Analysis were run. Only items with loadings of .50 or higher structure were considered. The differences were tested by the significant level at p<.10.
The results of this study were follows: First, the 3 factors were loaded from 10 questions related to the clothing life styles factor analysis. The 3 factors accounted for 68.85% of the variance. These factors were identified as popularity intention, individuality intention, and utility intention and respectively accounted for 38.41%, 17.66%, and 12.79% of the variance. For the averages of samples’ clothing life style were popularity factor was 3.18 (SD=.93), individuality factor was 2.99 (SD=.74), and utility factor was 3.35 (SD=.91). As results of the K-Cluster analysis, 2 groups were identified. One was the fashion style and the other was the utility style. Fashion style was 44.3% (N=43) of the sample and utility style was 55.7% (N=54).
Second, the 7 factors were loaded from 25 questions related to clothing consumption attitudes and practices. The 7 factors accounted for 69.76% of the variance. These factors were identified as the impulse (Adj R2=14.72, M=2.89, SD=.90), pleasure intention (Adj R2=10.80, M=3.28, SD=.99), famous brand preference (Adj R2=10.41, M=2.66, SD=.93), timeserving (Adj R2=9.00, M=2.85, SD=1.03), information searching (Adj R2=8.86, M=3.24, SD=.85), efficient choice (Adj R2=8.83, M=3.35, SD=1.07), wasteful usage (Adj R2=7.15, M=2.37, SD=.96).
Third, there were statistically significant differences between clothing life styles on impulse, pleasure intention, famous brand preferences, information searching, and wasteful usage. The significant differences were not found in efficient and timeserving between clothing life style. Therefore, compare to utility style(Mu), fashion life style(Mf) tended to be more impulsive (Mf=3.14>Mu=2.67), intensive into pleasure (Mf=3.60>Mu=3.02), prefer famous brand (Mf=2.94>Mu=2.44), information searcher (Mf=3.43>Mu=3.09), and wastefully use (Mf=2.55>Mu=2.20).
Fourth, Most of the sample depended their living expenditures on their parents. Income sources for the living expenditures were composed of the allowances from parents, their work, and loan. The average ratios of income sources of the sample were 86.53% (Allowance), 19.73% (Work), and 2.31 (Loan). The two group were identified by where did students’ living expenditure come from. One group was the fully dependent group(Mf) which 100% of their living expenditure depended on their 160 parents. The other was the partly dependent group(Mp) which the dependency ratio on their parents was less than 50%. The Fully dependent group was 70% (N=49) of the sample and partly dependent group was 28.6% (N=20). Therefore compare to the partly dependent group, fully dependent group tended to be more impulsive (Mf=2.90>Mp =2.40), intensive into pleasure (Mf=3.42>Mp=2.10), information searcher (Mf=3.31>Mp=2.95), and wasteful use (Mf=2.44>Mp=1.95). However, there were no significant differences in the famous brand preference, timeserving, and efficient choice.
161 M6
A study on the attitude of make-up according to Women's body image & self-image
Ran Sug Seo† Dept. of Venture Beauty Management, Hoseo Graduate school of Venture, Korea
The aim of this study is to demonstrate the make-up culture of women by disclosing attitudes of make-up in such details as to whether there will be differences or not according to personal Weight interests & self-image. The study was performed with 218 consecutive women between the ages of 30 and 50 over 2 months from April 10th, 2012 till May 30th, 2012. A questionnaire was constructed with 10 questions about body image, 15 questions about self-image, and 17 questions about attitudes toward make-up by consultation of preceding studies. The results were as follows. First, regarding make-up attitudes according to concerns of Weight interests and self-image, there is no difference in make-up attitude by concern with Weight interests but there is significant difference by both sophisticated image and pure image. There is a significant difference in make-up attitudes by concerns of Weight interests and an activities image. Second, regarding make-up attitudes according to concerns with appearance and self-image, there is significant difference regarding concerns with appearance and both a sophisticated image and pure image. There is a significant difference in make-up attitude by concern with both appearance and activities image. Third, in result of make-up attitudes according to physical attractiveness and self- image, there is a significant difference in make-up attitudes by both physical attractiveness and sophisticated image. There is a significant difference in make-up attitude by physical attractiveness. There is no difference in make-up attitude by pure image and there is significant difference in make- up attitude by both physical attractiveness and activities image.
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162 M7
Ethical Leather Apparel Purchase Behaviors of Chinese and Korean Consumers: Focusing onthe Impact of Consumption Values1
† Hye Jung Jung, Kyung Wha Oh Chung-Ang University, South Korea
Ethical consumption has become an increasingly important issue since problems of sustainability and social responsibility including the environment pollution, labor standards, animal welfare, and fair trade have risen to substantial prominence (Carrigan, Szmigin, & Wright, 2004). With increased consumers’ interests in the environmentalallegations of apparel and textile products (Gam & Banning, 2011), this study pays attention to develop ethical faux leather products which are produced by usingthe animal-friendly and self-decontaminating faux leather for protecting both animals and the environment. The apparel and textile market has been truly diverse and competitive. Apparel and textile manufacturers and retailers must understand and attend to product attributes considered important by consumers (Abrahm-Murali&Littrell, 1995). For preparing to introduce the ethical leather products to consumers for future, it must be identified which criteria consumers would consider more important if they purchase these ethical goods which might be novel and somewhat unfamiliar to consumers. As the consumer behavior is accompanied with the uncertainty, it is crucial that consumers decide consumption choices based on their certain standards such as consumption values. Consumers can improve their satisfaction when they evaluate and buy products or services based on their consumption values(Sheth, Newman, & Gross, 1991). Identifying contemporary and diversified consumption values are helpful to understand consumers’ choices patterns and finally to provide marketing implications. This study examines how consumption values affect ethical leather products buying behaviors. Results of this research can contribute to develop marketing strategies when manufacturers or retailers offer ethical leather products in the future. Additionally, this study aims to identify needs of differentiated strategies according to targeted markets by comparing consumers in China and South Korea, the East Asian leading countries. The specific objectives of this study are 1) to investigate the sub-dimensions of contemporary consumption values and the evaluative criteria of ethical leather products of Chinese and Korean consumers, 2) to compare these two groups in terms of consumption values and purchase behaviors of ethical leather products including attitudes toward and evaluative criteria of ethical leather products, 3) to examine the effect of consumption values on purchase behaviors of ethical faux leather products, and the differences in this relationship between Chinese and Korean consumers. A survey was carried out among female consumers between the ages of 20 and 50, and the questionnaires were developed by being back-translated into different languages for Chinese and Korean respondents. First, respondents were asked questions measuring consumption values with 21 items adapted from previous studies and self-developed. Then, after reading the explanation and images related to the animal welfare and environmental problems of the natural and general faux leather products as a stimulus, respondents were asked questions measuring attitudes toward and evaluative criteria of ethical leather products with 4 items and 21 items respectively. A total of 600
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163 responses(300 Chinese and 300 Korean consumers) were analyzed by using factor analysis, reliability test, independent-sample t-test, and stepwise multi-regression analysis using SPSS 18.0. Results of this study were as follows. The outcomes of factor analysis and the reliability test on contemporary consumption values of Chinese and Korean respondents clearly showed factorial structures including conspicuous value, differential value, utilitarian value, ethical value, and hedonic value. In regard to evaluative criteria of ethical leather products, four sub-factors were derived including physical appearance, physical performance, extrinsic attributes, and ethical attributes. As results of examining differences in consumption values between Chinese and Korean respondents, they had different patterns in each factor’s score. Korean consumers tended to consider conspicuous and utilitarian values more important than Chinese and Chinese consumers tended to think differential, ethical, and hedonic values more important than Korean. In terms of evaluative criteria of ethical leather products, Korean respondents showed higher scores in physical appearance and performance of ethical leather products than Chinese and Chinese respondents showed higher scores in extrinsic and ethical attributes than Korean. Both Chinese and Korean consumers displayed favorable attitudes toward and positive purchase intentions of ethical leather products. This result indicates that two countries could be the future target markets for offering the ethical leather apparel goods. As results of identifying impacts of consumption values on attitudes toward ethical leather products, for Chinese responses, ethical and hedonic values had a significant effect on attitudes toward ethical leather products. Utilitarian and ethical consumption values had significantly positive impacts on Korean consumers’ attitudes toward ethical leather products. Consumption values had influences on evaluative criteria when consumers buy ethical leather products and patterns of this relationship showed both similarities and discrepancies between two consumer groups. Results of this study suggest differentiated product and communication strategies must be established when manufacturers or retailers offer ethical leather products targeting Chinese and Korean consumers.
Acknowledgement
This work was supported by the National Research Foundation of Korea(NRF) grant funded by the Korea government(MEST) (No. 20110028966).
References
Abraham-Murali, L. &Littrell, M. A. (1995). Consumers’ conceptualization of apparel attributes. Clothing and Textiles Research Journal, 13(2), 65-74. Carrigan, M., Szmigin, I., & Wright, J. (2004). Shopping for a better world? An interpretive study of the potential for ethical consumption with the older market.Journal of Consumer Marketing, 21(6), 401-417. Gam, H. J. & Banning, J. (2011). Addressing sustainable apparel design challenges with problem- based learning. Clothing and Textiles Research Journal, 29(3), 202-215. Sheth, J. N., Newman, B. I., & Gross, B. L. (1991). Why we buy what we buy: A theory of consumption values. Journal of Business Research, 22(2), 159-170.
164 M8
A Qualitative Study on the Cognitive and Emotional Responses of Consumers Experiencing the Sold-Out Situation in the Internet Fashion Shopping
Eun Ji Lee, Jin Hwa Lee Dept. of Clothing & Textiles, Pusan National University, Korea
This study examines the effects the cognitive, emotional response of consumers who experience the situation in which the productions they want to buy are sold out, which can happen during the consumers’ purchasing intention decision, in the limited internet fashion shopping mall out of whole shopping environment has on purchasing intention later through intensive interview in-depth. And because the study of an effective factor and an result factor of selling out and the study of consumers’ response are rising as an important issue, this study also finds out that how the various cognitive, emotional responses of consumers who experience the situation in which the products which they want to buy are sold out was composed of sub-dimension, and that what effect which the result factor of it has on the behavior intention such as information explore, purchasing intention etc. This study used qualitative research method through intensive interview as an exploring research skill in order to find out the cognitive, emotional response of consumers according to the selling out situation and the effects which such psychological responses has on later purchasing intention. Referring to the condition which Spradley (1979) suggested, this study chose 10 members of ‘Seoul Dresser’ which Daum Communications Corp. provides, who are very accustomed to internet shopping from 20s to 30s residing in Busan as information providers, and this study used Crewell’s spiral data analysis to analyze the data. The findings show that all the information providers who often visit internet shopping mall and buy products through internet shopping periodically have experienced the situation in which the products they wanted were sold out. The cognitive responses show both positive and negative responses at the same time. The positive responses can be divided into largely two kinds, that is, the confirmation of the product itself and confirmation of approval. The confirmation of the product can be divided into the popularity of the product, quality. And the confirmation of the approval can be divided into the approval of others, the confirmation of discernment of choosing products. The negative responses can be divided into two kinds, that is, the negative response about the dealer and the negative response about the homogeneity and similarity of fashion. Again the negative response about the dealer is divided into the shortfall in quantity, neglecting management, spoiling as marketing method. And the negative response about homogeneity and similarity of fashion results in anxiety about the public. Almost all the information providers showed negative response emotionally. In the case of temporarily being out of stock, they show the skeptical response until the time of re- warehousing. And in the case of completely being out of stock, they show the worse response because of the opportunity cost of their efforts and time. And they think that there is a problem in dealer’s marketing strategy and as a result in the case of buying other products the response has an effect on the decision making of purchasing later. Finally, we can see that after they find out the situation of being out of stock, the information providers either struggle to find out the same and similar products using their own information power and buy alternative goods actively or give up buying through rationalizing their own behavior. Though this study, we can find out that selling out doesn’t necessarily bring out only negative responses and that selling out triggers scarcity of this product and it functions as stimulating factor of 165 the purchasing desire of consumers. And we can see that in the situation of being out of stock, unless there is proper preparation and measurement, it has the negative effect on consumers emotionally, and that it has a bad effect on the whole sale in the shopping mall because the consumers think of the dealer’s immature marketing strategy. This finding that the situation of being out of stock in which consumers experience in the internet shopping has much effect on the evaluation of the internet shopping mall suggests dealers the way to improve their marketing strategy. And the dealers need to understand that how the situation of being out of stock in the shopping mall makes consumers feel.
166 M9
The Influence of Satisfaction of Secondhand Fashion Store Attribute on Revisit Intention
* ** Hyun-Hee Park , Tae-Gue Choo *Center for Beautiful Aging, Kyungpook National University, Korea **Dept. of Fashion Design, Kyungpook National University, Korea
1. Introduction As the consumers’ concern about environmental conservation is gradually rising, they had a lot of interest about the impact of environment in their daily life (Krause, 1993). As the issue of environmental conservation is being magnified, the move which is recycling the secondhand fashion goods, as well as eco-friendly fashion product development is emerging in the field of fashion. Moreover, the stores of secondhand fashion goods are clearly on the rise online as well as offline. However, academic research related to the store characteristic of secondhand fashion goods is limited. Few studies on identifying the characteristic of consumers who are purchasing secondhand fashion goods (Park & Choo, 2011, 2012) and operation practice of secondhand product site (Kim et al., 2004; Yoo, 2006) were done. Research investigating satisfaction of secondhand fashion store attribute, revisit intention, purchasing practice of secondhand fashion goods is noticeably lacking. Therefore, this study explores the influence of satisfaction of secondhand fashion store attribute on revisit intention and purchasing practice of secondhand fashion goods focusing on university students who had experienced the secondhand fashion stores. This result of current study would be useful for the marketer and manager who would like to establish a differentiated marketing strategy of secondhand fashion store.
2. Method A survey method was used to collect data. Most variable items were drawn from previous literature (Kwon and Hong, 2006; Lee et al., 2009; Yang, 2009; Yoo et al., 1998), which render a more convincing content validity of the measures. The population for this study is composed of university students in Daegu, South Korea. A total of 400 questionnaires were distributed from 10 to 20 September 2012. This yielded 135 valid surveys. 265 questionnaires with incomplete or no experience of secondhand fashion store were excluded for further analysis.
3. Results and discussion In the preliminary analysis, exploratory factor analysis with Varimax rotation was utilized to check the convergent and discriminate validity of the scales item. Satisfaction of secondhand fashion store attribute had four solution: store atmosphere, price & diversity, convenience, and product assortment. Revisit intention was contracted to one factor. Coefficient α scores were calculated for each construct to show internal consistency. All values showed that internal consistency reliability of each construct was deemed adequate. The results revealed that the satisfaction of secondhand fashion store attribute affected revisit intention (F=9.568, p<0.001, R2=0.329). Specifically, price & diversity factor (β=0.586, p<0.001) influenced on revisit intention. In addition, it was revealed that university students mainly buy clothing and bag items, spend lower than 100,000 won and visit secondhand shops selling unknown brand when they purchase secondhand fashion goods.
167 4. Conclusion From these study results, we confirmed that the most important store attribute of secondhand fashion store was the price & diversity to enhance the consumers’ revisit intention. Therefore, marketer of secondhand fashion store should pay attention to managing price policy and getting secondhand fashion goods of diverse and unique design. For the future study, it is suggested to find out online store attribute of secondhand fashion goods and identify the effect of satisfaction of online store attribute on revisit intention.
References
Kim, H. R., Shin, H. W., Rhee, J. U., Ha, O. S., & Kim, T. I. (2004). The study on consumer in second hand luxury market. Journal of Fashion Business, 8(2), 15-25. Krause, D. (1993). Environmentally consciousness: An empirical study. Journal of Environment and Behavior, 25(1), 126-142. Kwon, Y. J., & Hong, B. S. (2006). The effect of discount store attributes and clothing product evaluation on store loyalty. Journal of the Korean Society of Clothing and Textiles, 30(7), 1066-1077. Lee, E. M., Park, H. H., & Jeon, J. O. (2009). The influence of user’s characteristics of internet shopping mall on interactivity, trust and reuse intention. Journal of Marketing Studies, 17(3), 83-110. Park, H. H., & Choo, T. G. (2012). Influence of consumer self-confidence and self-confidence in fashion coordination on attitude toward secondhand fashion goods and purchase intention of secondhand fashion goods. Journal of the Korean Society for Clothing Industry, 14(4), 544- 553. Park, H. H., & Choo, T. G. (2011). The comparison of consumer characteristics according to purchasing experience of secondhand fashion goods. Journal of the Korean Society for Clothing Industry, 13(6), 909-916. Yoo, H. J. (2006). Investigation into consumers’ shopping experiences in internet used-item markets- Focused on “I-baby”-. Journal of the Korean Home Economics Association, 44(4), 175-190. Yang, L. N. (2009). A study on the satisfaction of the store attribute, intention of revisit and recommendation on the clothing consumer. The Research Journal of the Costume Culture, 17(3), 367-382. Yoo, C., Park, J., & MacInnis, D. J. (1998). Effect of store characteristics and in-store emotional experiences on store attitude. Journal of Business Research, 42(3), 253-263.
168 M10
New Elderly Women`s Formal Wear Product Design Elements - Applied to the Quality Functional Deployment(QFD) Theory -
Cha Hyun Kim*, Jae Ok Park**† *Dept. of Textile & Clothing Design, Kyung Hee University Korea **Dept. of Clothing & Textiles, Hanyang University, Korea
With increase in average life expectancy and aging population because of decrease in childbirth, silver industry has been expanding in recent years. At the same time, people have become more interested in clothing industry for the elderly. These days, silver generation has significantly changed their perspective as social environment changes. In fact, ‘New Silver Generation’ which is quite different from conventional silver generation has emerged as a new consumer force. They are reluctant to admit that they are old with a young mindset and considerable economic power. As they become active in leisure and social activities, they have shown interest in fashion. Therefore, it is necessary to design clothes which meet their needs and demands in terms of usefulness and activity. Therefore, this study has attempted to propose design guidelines from the perspective of aged women and suggest a direction for design of clothes for silver generation through investigation on the specific design elements associated with quality attributes that should be improved in advance based on QFD methodology after analyzing customer attributes for clothes among the New Silver Generation women. For this, an in-depth one-on-one interview was performed against 30 experts and New Silver Generation women (aged 60-75, living in Seoul and Gyeonggi area) who are wealthy and engage in various leisure activities to stay healthy with a relatively young mindset, and consumer attributes were obtained. Then, a questionnaire survey was conducted from April 15 to 22, 2013. A total of 500 questionnaires were distributed, and 457 copies were collected. Among them, poorly answered ones and those which failed to meet the requirements have been eliminated. As a result, 417 copies were used for analysis. An expert’s review for QFD has been performed by the QFD team which consisted of 3 designers and 7 professors from the fashion design-related department from April 15 to 20, 2013. To find out relations between clothes attributes and design elements, a total of 24 design elements associated with line, color and quality of material have been obtained and quantified based on Lyman(2001)’s normalization method. In terms of data analysis, Cronbach's alpha has been used to measure the reliability of questionnaire information. To find out the importance of evaluation items, frequency and percentage were investigated. In addition, customer attributes- reflected design elements have been investigated using a QFD model. Then, relation values between customer attributes and design elements have been estimated using Lyman’s normalization method (2001), and the priority of design elements has been determined. As a result, the following results have been obtained: First, customer attributes for clothes among the New Silver Generation women have been classified into ‘aesthetics,’ ‘socio-psychology,’ ‘fitness,’ ‘usefulness’ and ‘maintenance.’ ‘Aesthetics’ consisted of the following concepts; ‘style,’ ‘looking stylish,’ ‘looking young,’ ‘improvement of physical handicap,’ ‘looking thin,’ ‘clear face,’ ‘bright face’ and ‘good color matching.’ ‘Socio- psychology’ was comprised of ‘looking elegant,’ ‘looking luxurious,’ ‘looking your age,’ others’ response,’ ‘showing personality very well,’ ‘appropriateness of purpose,’ ‘exposure level’ and
† [email protected]
169 ‘reflection of trend.’ ‘Fitness’ include ‘well fit without repair,’ ‘comfortable wearing’ and ‘convenience in activity.’ ‘Usefulness’ consisted of ‘good for health,’ ‘feeling soft,’ ‘easy to put on and take off,’ ‘diverse purposes’ and ‘harmonious with other clothes.’ Lastly, ‘maintenance’ covers ‘deformation after washing,’ ‘convenience in maintenance,’ ‘feeling heavy or light’ and ‘stitch conditions.’ Second, the factors that New Silver Generation women took seriously in a suit were ‘looking elegant,’ ‘looking luxurious’ and ‘looking young.’ In other words, ‘socio-psychology’ and ‘aesthetics’ were important. Therefore, it is necessary to design an elegant and luxurious suit which makes customers look younger. Third, according to analysis on relations between customer attributes and design elements, ‘aesthetics’ and ‘socio-psychology’ were mostly related with line and color. ‘Fitness’ was highly related with line and material. In addition, ‘usefulness’ was mostly related with line, color and material. However, ‘maintenance’ was highly related with material only. Fourth, in terms of priority on relative importance in HOQ customer attributes, ‘type of fiber’ was No.1, followed by ‘ease,’ ‘length’ and ‘tone.’ In other words, it is necessary to select the fiber which meets the attributes requested by the New Silver Generation women at development of a suit. Then, it is also important to determine the ease and length of clothes. Fifth, in terms of priority on relative important in HOQ customer attributes, ‘appropriateness of purpose’ was the highest. In other words, the New Silver Generation women is a new consumption group which focuses on harmony in clothing and puts on appropriate dress for each circumstance, compared to conventional silver generation. Hence, it is required to design clothes for New Silver Generation women, which meet their needs and demand in consideration of overall harmony in clothing.
References
Akao, Y., ed. (1990). Quality Function Deployment. MA: Productivity Press. Davis, M. L. (1996). Visual Design in dress (3rd ed.). New Jersey: Prentice Hall. Kim, J. S. (2006). A study on the spending behaviors, related to the cognitive age of the consumers in the elderly generation. Unpublished Ph.D. thesis, Sookmyung Women's University. Kim, M. S. (2003). The Consumers’ Evaluative Criteria of Quality on the Clothing Products, The Research Journal of the Costume Culture, 11(1), 47-65. Kim, M. Y. & Lee, E. Y. (1991). A Study on the Theoretical Framework of Clothing Evaluative Criteria. Journal of the Korean Society of Clothing and Textiles, 15(3), 321-334. Lee, Y. M. (2008). A Study on Knitwear Design Attributes Based on the QFD Theory: focused on middle-aged and aged women's formal knitwear. Unpublished Ph.D. thesis, Hanyang University. Row, Y. (2006). A study on Apparel Product Design Elements Applied to Quality Function Deployment: focused on Middle-aged and aged women’s formal wear. Unpublished Ph.D. thesis, Hanyang University. Scheurell, D. M. (1999). Applying quality function deployment in the apparel industry. The International Journal of Costume Culture, 2(2), 108-124.
170 M11
Observation of Finnish Fashion for Developing Design Education Strategies in Korea for the need of the Globalized Market
Chil Soon Kim *Dept. of Textile & Clothing Design, Kyung Hee University, Korea
1. Introduction To produce a creative person is an important issue for the education and industry people. There is a need to observe design education system or successful designer story to survive from the competition. Scandinavian design characterized by simplicity, minimalism and functionality is interesting these days. Scandinavian design is focusing and targeting mass market, with nature and human base. These motivate to research to get know how in survival from the global competition. The purpose of this study was to observe the case of prominent Finnish fashion collaboration and design systems for benchmarking strategies in order to get the direction of future design education.
2. Methodology For this study, exploratory research technique (case studies)was undertaken to gain insights into my interest. The cases were successful designer, fashion brands, design education models, focusing on the collaboration or convergence aspects. The data are obtained from the company homepage, external secondary sources such as the resources from the internet, books, and other publications.
3. Results and Discussion We selected prominent Ivana Helsinky as a Finnish fashion designer and Marimekkko, which is the leading Finnish textile and fashion design company which produces fabrics and readymade items for stores all around the world.
1) IVANAhelsinki IVANAhelsinkiis an exclusive Finnish design brand, founded by designer Paola Suhonenand her sister Pirjo Suhonen in 1998. Paola Ivana Suhonen is a Helsinki born designer, artist and filmmaker. She has worked product development, print and concept design for several companies. There are some examples of a collaboration(fig.1.). IVANAhelsinki put pattern design at Nokia phone casewith IVANAhelsinki’s classic “Helsinki” print. These bright tones of print give specially Nokia to look fun and lively. In the latest Ivana Helsinki collection, she mainly presented her floral dresses in patterns similar to that of the drapery in the motel seen in the film. This indicated that design concept is important to show “spirit”, but also multi-experience enrich outcome of products. IVANAhelsinki collaborated with Coca Cola bottle and can design (a). (b) shows that Finnish design company Jalo Helsinki collaborated with two designers Harri Koskinen and Ivana Helsinki designer Paola Suhonen to create design smoke alarms. Suhonen’s playful Lento smoke alarm comes in five different colors. (c) shows that furniture manufacturer PIIROINEN’s collaboration with IVANAhelsinki. In IVANAhelsinki and SavetheC companycollaboration (d), two enthusiastic sailorswanted to diminish the waste of sails, and uses recycled sail materials in its unique bags.
171
a) b) c) d) e) Fig. 1. IVANAhelsinki’s Collaboration
2) Marimekko Marimekko was founded by Finnish couple, Armi and Viljo Ratia, with the meaning of “Mary- dress.” Bold, rich textiles and readymade productshave become respected in the design world. In design process, they seek new target groups, the company maintains a diverse design portfolio and renews it designs regularly. They try to draw each designer’s personal ability from eras and cultures and then intriguingly adapt them to our own time. The company always seeks a unifying element for its collections to identify Marimekko brand. The themes for the prints are drawn from life and the world: nature, events and people. The designers try to discover ideas and transform them into products in a bold and distinctive manner. The Marimekko did collaboration for “Finnair” collection, which includes textiles, tableware, and for two flights uniforms. It can fulfill Finair’s desire to Marimekko’s sympathetic Unikko poppy flowers flying up in the sky as well as our other iconic prints as a part of the in-flight experience bring joy to people around the world.Marimekko did collaboration with “Crate and Barrel” in ceramics and glassware, pillows, placemats, a bedding and bath collections. “Converse” and Marimekko collaborated to make a 2013 Limited Edition Spring Collection. This company did collaboration for H&M’s, and Aesop inspired by the rituals of Scandinavian bathing culture. The distinctive Aesop products are packaged in recyclable plastic jars and presented in a dedicated cotton bag featuring Marimekko’s ‘Vellamo’ printwith an interpretation of moving water inspired by the Finnish national epic Kalevala. Marimekko worked together with students (BAC) for the Spring 2013 Student Art Collaboration. Finnish every studentlearns from each other through interaction and can create good design with fun in everyday life, thinking functionality.
4. Conclusion We realized that Finnish people consider such factors climate, modern look, and innovative thinking, and culture, social and economic welfare in design process. They considered democratic design, use of material, combining craft with production, organic forms with everyday functionality. From the nature and environmental moods, IVANAhelsinki and Marrimekko developed their own textile designswhich include Scandinavian unique style and colors. There are doing lots of collaboration with keeping identity; design, brands, industry and students, etc., which will bring out positive results. One of Finnish culture, sauna, produced collaboration Marimekko with Aesop. The combinations of public relations, the political strategy of association with Scandinavian countries might be one of reason for the success. These findings might be good source to build new paradigm of design education in Korea.Textile design is important to express identity of brand. In further study, we will researchabout the textile and fashion design education system more to build a good model.
172
References
Anonym. (2013, Jan 23). Design Collaboration – Finnair & Marimekko, Retrieved June 9, 2013, from http://www.honourbranding.com/latest/design-collaboration-finnair-marimekko/. Ashby, C. (2010). Nation building and design: Finnish textiles and the work of the friends of Finnish handicrafts. Journal of history, 23(4), 351-365. BAC Student Development Blog (2013, May 9). Spring 2013 student collaboration. Retrieved June 9, 2013, from http://thebacstudentdevelopmentblog.blogspot.kr/2013/05/spring-2013-student-art- collaboration.html. Crate and barrel (2011, Feb 4). Crate and Barrel and Marimekko Extend Collaboration Through 2013. Shop-in-shop, ecommerce rollout planned for spring 2011, Retrieved June 9, 2013 from http://www.reuters.com/article/2011/02/04/idUS169157+04-Feb-2011+PRN20110204. Eyporsdottir, K. (2011, June 13). The story of Scandinavian design: combining function and aesthetics. Retrieved June 9, 2013, from http://www.smashingmagazine.com/author/katrin- eythorsdottir/?rel=author. Kayleigh (2013, April 15). The gotta have it girl.Cool Collaboration: Converse & Marimekko. Retrieved June 9, 2013, http://www.thegottahaveitgirl.com/2013/04/cool-collaboration-converse- marimekko.html. Ivana Helsinky. Ivana Helsinky Paola Suhonen, June 9, 2013, from http://www.ivanahelsinki.com/about/ Marimekko, History of Marimekko, June 9, 2013, from http://www.finnishdesign.com/finnish-design- companies/marimekko/history-of-marimekko Michal Hodg(2011, August 10).Know about Scandinavian Design and its history. Retrieved June 9, 2013, from .( http://scandinavian-iittala.blogspot.kr/2011/08/know-about-marimekko.html. Muppy, R. et all. (2008). A comparative analysis of strategies for design in Finland and Brazil. Proceedings of DRS2008, Design Research Society Biennial conference, Sheffield, UK, 16-19 July 2008, 201/1-201/16. Pob sugar fashion. (2008, Jan 10). On Our Radar: H&M Gets Groovy For Spring. Retrieved June 9, 2013, http://www.honourbranding.com/latest/design-collaboration-finnair-marimekko/. 11. Wikimedia. Scandinavian Design, http://en.wikipedia.org/wiki/Scandinavian_design. www.marimekko.com www.aesop.com
173 M12
Structural Equation Model Analysis of E-servicescapes for fashion products
․ Eun Joo Park* Chae Yeon Lee Dept. of Fashion Design, Dong-A University Dept. of Business Management, Gyeongnam Provincial Namhae College
Purpose. E-servicescape can be defined as the set of physical cues that represent an organization to its clients on the Internet. When service encounters occur at an e-shopping mall, e- servicescape may become particularly critical because it is the key artifact representing the organization to consumers (Harris & Mark, 2010). It has been shown to strongly influence consumer behavior and satisfaction. Hedonic shopping motives can be defined as a motive that relates to multi- sensory, fantasy, and emotional aspects of shopping, which is driven by hedonic benefits, such as fun in using the product and aesthetic appeal. Hedonic shopping motives are related to hedonically valuable shopping experiences such as increased arousal, heightened involvement, perceived freedom, fantasy fulfillment, and escapism, regardless of purchasing (Jones et. al., 2006). It is also associated with e-servicescape of shopping mall in the shopping context of fashion products. Positive emotion in general seems to lead the more positive evaluations, including more positive consumer satisfaction judgments. Positive emotion is influenced by his/her pre-existing mood, affective disposition, and reaction to current environmental encounters such as desired items and sales promotions, etc. Positive emotion tends to reduce decision complexity and have shorter decision times (Youn & Faber, 2000) and can influence consumers’ purchasing intentions, spending, perceptions of quality, satisfaction, and value (Babin & Babin, 2001). An understanding of the relationships among hedonic motive, e- servicescape, positive emotion, and purchase intension in e-shopping of fashion products will be useful in developing strategies of market-controlled environments. The specific purposes were 1) to identify dimensions of e-servicescape, and 2) to explore causal relationships among hedonic shopping motive, e-servicescape, positive emotion, and purchase intension of fashion products.
Procedure. A self-administrated questionnaire with multi-item scales was developed based on literatures. The instrument consisted of the following main variables: hedonic motive, e- servicescape, positive emotion, and purchase intension of fashion products Participants responded to questions on a 5-point rating scale (1= very unlikely, 5 = very likely). The sample group was college students enrolled at a large urban university in Busan, Korea. The questionnaire was administered during a regularly scheduled class. Usable data were obtained from 681 respondents who represented mostly female students aged 21 to 24 years. Amos 18.0 was employed to conduct structural equation model testing of the relationships proposed by the theoretical model that follows.
Findings. E-servicescapes of a shopping mall consisted of three dimensions: Asthetic appeal, Ambient conditions, and Layout/functionality. We developed the structural equation model, consisting of one exogenous (hedonic shopping motive) and five endogenous constructs (esthetic appeal, ambient conditions, layout/functionality, positive emotion, and purchase intension of fashion products) with ten hypothesized relationships. The overall model fit statistic indicates that the model fits the data within established guidelines: Chi-square = 697.419 (df = .141, p ≤ .001); GFI = .91; CFI = .93; and RMR = .06. Most of the relationships except one between positive emotion and purchase intention were significant. Specifically, e-servicescape robustly affected purchase intention with a
174 range of Estimate from .10 to .25 while the effect of positive shopping emotion was not significant in comparison with purchase intention. Therefore, e-servicescape of a shopping mall served as mediators to predict purchase intension of fashion products. Furthermore, hedonic shopping motives positively influenced three dimensions of e-servicescape (Estimates = .22 ~ .28) and then three dimensionrs of e- servicescape positively influenced positive shopping emotion except for the negative relationship between ambient condition and purchase intention (Estimate = -.18).
Implications. The results suggest that e-servicescape mediates relationships between antecedent variables (hedonic shopping motive) and purchase intention of fashion products. Interestingly, hedonic shopping motive has a strong effect on e-servicescape and e-servicescape directly influence purchase intention of fashion products. Retailers can benefit from a deeper understanding of consumers’ e-servicescape of an e-shopping mall. E-servicescape might evoke their purchase intentions which lead to increases in sales. Retailers should create an e-environment where consumers can be stimulated of their purchase intention. Fashion shopping is often more of a leisurely activity that suggests there can be more meaning given to the affective quality of the retailer. Therefore, retailers may control many of these variables through their choices of market strategies. The results from this study provide some insights into retail marketing theories supporting the trait and behavioral aspects of purchase behavior.
References
Babin, B. J. & Babin, L. (2001). Seeking something different? A model of schema typically, consumer affect, purchase intentions and perceived shopping value. Journal of Business Research, 54, 89-96. Youn, S. & Faber, R. J. (2000). Impulse buying: Its relation to personality traits and cues. Advances in Consumer Research, 27, 179-185. Harris, L. C., & Mark, M. H. (2010). Online servicescapes, trust, and purchase intentions. Journal of Services Marketing, 24(3), 230-243. Jones, M. A., Reynolds, K. E., & Amold, M. J. (2006). Hedonic and utilitarian shopping value: Investigating differential effects on retail outcomes. Journal of Business Research, 59(9), 974-981.
175 M13
Business Performance of Foreign Brand Apparel Shop in the Department Stores
Yeon Soon Hwang Dept. of Skin Esthetics & Beauty Design, Choonhae College of Health Sciences, Korea
1. Introduction This study is intended to disclose the variables which affect business performance and figure out the relation between those variables and demographic characteristics, and furthermore, how they affect their subjective business performance by surveying shop managers who actually run apparel shops of foreign brands in department stores. Aim of this study is to supply companies which were involved in the operation of the apparel shops in the department stores with implication.
2. Research Methods Members of this study were managers who operated the brand shops of foreign brands in department stores located in Kyungsangdo Province. Data were collected through survey. Measuring tool in the survey sheet, which was made by referring to the preceding research (Hwang, 2009), consists of 35 variables related to the factors which affect the business performance of the apparel shops in the department stores and 3 items of success sustainability, profitability and growth sustainability. Each item was measured by 5-point Likert scales. Demographic characteristics consist of age, education, prior apparel sales experience, kinds of products, manager career and number of employee. Data were collected in May and June, 2012 through the convenience sampling and total 218 valid samples were analyzed. Frequency analysis, factor analysis, t-test, ANOVA and multiple regression analysis were carried out with collected data by using SPSS 18.0. Characteristics of respondents are as shown in Table 1.
3. Results and discussion 3.1. Influence factor on the business performance In order to figure out the variable to affect the business performances that shop managers of the apparel shops for foreign brands in the department stores perceived, factor analysis for total 35 items was carried out through Varimax rotation. According to its result, explanation power for total variance was 63.71% and 8 factors of customer responses, marketing management, self-control, external environment threat management, sales promotion, employee management, shop feature and planning were extracted(Table 2). This result partly corresponded with the research result of Hwang, Y. S., & Park, J. H.(2009) which presented market informative power, cost, quality management power, recession responsiveness, power of store management, power of product management, power of sales promotion in the business performance factors of the independently-operated small apparel retailers.
3.2. Influence factor on the business performance and demographic characteristics ANOVA and Duncan Test were carried out in order to research the gap among the influence factors on the business performance according to ages of the shop managers of the apparel shops for foreign brands in the department stores. Analysis result showed that ages brought significant differences in self control and employee management. Shop managers in their 50s regarded self control and employee management as the most important things. As for self-control, it was regarded as important 176 in the order of 50s, 40s, 20s and 30s. As for employee management, it was regarded as important in the order of 50s, 40s, 30s and 20s (Table 3). In order to examine the difference among the business performance influence factors according to education of shop managers, t-test was carried out and its result showed that marketing management and planning had significant difference. It was found that marketing management was perceived as more important by persons of “junior college or more” and planning was perceived as more important by persons of “high school or less” (Table 4). In order to examine the difference among the business performance influence factors according to prior apparel sales experience of shop managers, t-test was carried out and its result showed that employee management had significant difference. It was found that employee management was perceived as more important by manager with prior experience (Table 5). In order to examine the difference among the business performance influence factors according to kind of products of shop managers, ANOVA and Duncan Test were carried out and the result showed that shop feature had significant difference. It was found that shop feature was perceived as most important by the shop for selling women wear and followed by children wear, men wear, unisex mode and sports wear (Table 6). In order to examine the difference among the business performance influence factors according to career of shop managers, ANOVA and Duncan Test were carried out and the result showed that customer responses, sales promotion and planning had significant difference. It was found that customer responses was perceived as most important by the shop managers with career of 15 or more years and less than 20 years, planning was the same (Table 7). In order to examine the difference among the business performance influence factors according to number of employee, ANOVA and Duncan Test were carried out and the result showed that customer responses, employee management and shop feature had significant difference. It was found that customer responses was perceived as most important by the shop managers with 1 or 2 employees, employee management by ones with 3 or 4 employees and shop feature by ones with between 5 to 7 employees (Table 8).
3.3. Influence factor on the business performance and subjective business performance Multiple regression analysis was carried out to figure out the relation between business performance influence factors and the subjective business performance of shop managers by surveying shop managers of the apparel shops of foreign brands in department stores. Even though regression equation has low explanation power as a whole, success sustainability and growth sustainability in the business performances showed significantly. It was found that the more sales promotion in the business performance influence factors is perceived as important, the higher success sustainability is evaluated and the more self-control is perceived as important, the higher growth sustainability is evaluated (Table 9).
4. Conclusion This study was intended to disclose the variables which affect business performance and figure out the relation between those variables and demographic characteristics, and furthermore, how they affect their subjective business performance by surveying shop managers of the apparel shops of foreign brands in department stores. Business performance influence factors that shop managers perceived were customer responses, marketing management, self-control, external environment threat management, sales promotion, employee management, shop feature and planning. Differences of the subjective business performance according to age, education, prior apparel sales experience, kind of
177 products, manager career and number of employee which are involved with shop managers showed significantly. And as for influence of business performance influence factor and the subjective business performance, success sustainability and growth sustainability showed significantly.
References
Hwang, Y. S., & Park, J. H. (2009). Business Performance of Manager's Perspective in Small Apparel Retailer's Stores Operated Independently, Fashion & Textile Research Journal 15(1), 75-83.
Table 1. Demographics of respondents (N=218) General Contents Frequency Percentage Characteristics 20s 41 18.8 30s 135 61.9 Age 40s 39 17.9 50s 3 1.4 High School or Less 162 74.3 Education Junior College or More 56 25.7 Prior Apparel Sales Yes 134 61.5 Experience No 84 38.5 Women Wear 67 30.7 Man Wear 58 26.6 Kind Children Wear 20 9.2 of Products Sports Wear 57 26.1 Unisex Mode 16 7.3 Less Than 5 years 15 6.9 More Than 5 years -Less Than 10 years 69 31.7 Manager Career More Than 10 years - Less Than 15 years 91 41.7 More Than 15 years - Less Than 20 years 35 16.1 More Than 20 years 8 3.7 1-2 Person 70 32.1 Number of 3-4 Person 120 55.0 Employee 5-7 Person 28 12.8
178 Table 2. Influence factor on the business performance managers perceived
Factor Eigen % of Factors Crobach's α loadings value Variance Factor 1. customer responses Co-ordinate offer .746 Information presentation for purchase decision .736 Product demonstration .727 11.118 30.048 .895 Opinion transfer ability to persuade purchase .692 Professional knowledge about apparel product .688 Kindness .683 Excellent customer service .682 Factor 2. marketing management Frequency of promotion .707 Information and knowledge for retail environment change .706 Timing for sale promotion .694 Rapid understanding of market trend .640 2.960 8.001 .878 Proper marketing strategy and its timing .632 Well understanding of target customer .568 Shop display .551 Rapid understanding of fashion trend .526 Rapid understanding of customer taste .479 Factor 3. self-control Self-control .766 Health .725 2.098 5.671 .785 Diligence .666 Factor 4. external environment threat management Industrial recession won’t be trouble .853 Depression won’t be trouble .828 1.761 4.759 .806 Drop of percentage margin due to rise of the prime cost won’t be .715 trouble Factor 5. sales promotion Good PP(Point of sales Presentation) .810 1.694 4.579 .894 Good IP(Item Presentation) .797 Good VP(Visual Presentation) .729 Factor 6. employee management Proper number of employee .699 Good team work .687 Hiring of good employee .633 1.431 3.868 .710 Kind to employees .611 Low job change .557 Factor 7. shop feature Shop size .818 1.368 3.696 .728 Good shop location .718 Good shop facilities .707 Factor 8. planning Detail plan .800 1.142 3.087 ..770 Realistic plan .696
179 Table 3. Difference of influence factor on the business performance according to age
age In 20s In 30s In 40s In 50s F value factor (n=41) (n=135) (n=39) (n=3) customer responses 3.98 3.97 4.10 4.48 1.718 marketing management 3.63 3.61 3.77 4.15 2.308 self-control 3.88AB 3.74B 3.99AB 4.33A 3.266* external environment 3.21 3.16 3.28 3.25 .378 sales promotion 3.48 3.62 3.80 4.00 2.410 employee management 3.70B 3.79B 3.84B 4.60A 4.531** shop feature 3.24 3.29 3.23 3.89 .711 planning 3.62 3.70 3.87 3.50 1.296 *p ≤.05, **p ≤.01, A>B, Duncan test
Table 4. Difference of the business performance influence factor according to education
education High School or less Junior College t value factor (n=162) or more (n=56) customer responses 4.00 4.00 n.s. marketing management 3.61 3.76 -2.007* self-control 3.81 3.85 n.s. external environment 3.19 3.20 n.s sales promotion 3.66 3.54 n.s. employee management 3.78 3.83 n.s. shop feature 3.24 3.41 n.s. planning 3.77 3.56 2.18* *p ≤.05
Table 5. Difference in successful shop operation according to prior apparel sales experience
prior apparel sales experience Yes (n=134) No (n=84) t value factor customer responses 4.02 3.97 n.s. marketing management 3.68 3.61 n.s. self-control 3.86 3.75 n.s. external environment 3.18 3.21 n.s sales promotion 3.64 3.60 n.s. employee management 3.84 3.71 2.126* shop feature 3.31 3.23 n.s. planning 3.65 3.82 n.s. *p ≤.05
180 Table 6. Difference Business performance influence factor according to kind of products
kind of products Women Wear Man Wear Children Wear Sports Wear Unisex Mode F value factor (n=67) (n=58) (n=20) (n=57) (n=16) customer responses 3.98 4.02 4.07 3.97 4.05 .232 marketing management 3.68 3.68 3.82 3.56 3.54 1.493 self-control 3.81 3.88 3.86 3.81 3.64 .613 external environment 3.29 3.19 3.26 3.07 3.16 1.000 sales promotion 3.59 3.71 3.75 3.53 3.69 1.061 employee management 3.81 3.84 3.76 3.78 3.63 .798 shop feature 3.50A 3.28AB 3.33AB 3.06B 3.10AB 2.744* planning 3.69 3.75 3.80 3.68 3.69 .202 *p ≤.05, A>B, Duncan test
Table 7. Difference Business performance influence factor according to manger career
10 or more, 15 or more, Less than 5 5 or more, 20 or more manger career less than 15 less than 20 years less 10 years years F value factor years years (n=15) (n=69) (n=8) (n=91) (n=35) customer responses 3.99A 3.90A 3.98A 4.23A 4.11A 2.840* marketing 3.57 3.62 3.62 3.80 3.76 1.253 management self-control 3.90 3.70 3.83 3.95 3.94 1.406 external 3.17 3.25 3.08 3.35 3.38 1.556 environment sales promotion 3.71AB 3.48B 3.61AB 3.90B 3.83AB 3.466** employee 3.65 3.76 3.79 3.91 3.88 1.222 management shop feature 3.02 3.19 3.36 3.37 3.25 .996 planning 3.50B 3.67AB 3.67AB 4.01A 3.69AB 2.813* *p ≤.05, **p ≤.01, A>B, Duncan test
Table 8. Difference influence factor on the business performance according to the number of employee Number of employee 1-2 persons 3-4 persons 5-7 persons F factor (n=70) (n=120) (n=28) customer responses 4.08A 4.01A 3.79B 3.597* marketing management 3.66 3.65 3.62 .066 self-control 3.87 3.82 3.67 1.304 external environment 3.21 3.15 3.34 1.065 sales promotion 3.59 3.69 3.44 2.395 employee management 3.77A 3.84A 3.61B 3.484* shop feature 3.11B 3.29B 3.66A 4.957** planning 3.74 3.73 3.61 .514 *p ≤.05, **p ≤.01, A>B, Duncan test
181
Table 9. Effect the business performance influence factor on the subjective business performance
Independent variables Dependent customer marketing self- external merchandise employee shop variables planning responses management control environment presentation management feature BETA .099 -.064 .134 -.081 .174 .075 .091 -.017 Success t 1.037 -.678 1.597 -1.080 1.988* .982 1.269 -.218 sustainability R²=.108 F value= 3.177** BETA .137 -.044 .153 -.036 .127 .037 .113 .003 Profit t 1.442 -.475 1.850 -.481 1.470 .486 1.587 .042 sustainability R²= .127 F value= 3.816 BETA .235 -.067 .162 -.041 .090 .069 .087 -.032 Growth t 2.523* -.728 1.993* -.560 1.057 .935 1.250 -.437 sustainability R²= .158 F value= 4.892*** *p ≤.05, **p ≤.01, ***p ≤.001
182 M14
Observation of online clothing shopping trends in China
Chil Soon Kim･QinHao Dept. of Textile & Fashion Design, Kyung Hee University, Korea
1. Introduction Recently, Chinese people are interested in the use of internet. The increasing number of on-line shopper is the concern for the fashion market. Chinese people tend to go shopping first to off-line store to try their clothes on, if they found good fit, then they have a tendency to buy at on-line shops. There is a report that fashion item’s market share reached to 26.9% (www.iresearch.com 2012). Therefore the purpose was to observe the patterns of on-line fashion shopping or business trends in China for provide information to develop target market and to set the direction of business.
2. Methodology We collected data from the literature, industrial report and any information in the internet to elaborate to achieve our research goal. We used secondary data to analyze the online clothing shopping trends in China.
3. Results and Discussion From the review of sources, we realized that C2C market share(79. 9%) is very large in 2011, but we can see the decreasing trend in percentage in 2012, while B2C market in increasing gradually in China clothing market. We assumed that B2C would replace C2C market soon (See table 1). Table 2show that in the 2012 Chinese clothing online shopping market shift from the C2C market to the B2C market trends. So many traditional enterprises have to set up on-line shopping store, Now TAOBAO was became the biggest on-line shopping store regardless ofB2C (68.5%) or C2C (90.3%).
Table 1. Market share status of on-line shopping in China (2011-2012) Proportion Market Type Classification Website (%)2011/2012 TAOBAO MALL (www.taobao.com) QQ MALL(buy.qq.com) Business to gondola sales 13.7 / 16.8 JINGDONG MALL(www.jd.com) Customer M18 (www.m18.com) (B2C) MBAOBAO (www.mbaobao.com) VANCL (www.vancl.com) self-support sales 6.3 / 22.0 FELISSIMO (www.felissimo.com) Consumer to TAOBAO (www.taobao.com) use of free gondola Consumer 79.9 / 61.2 PAIPAI (www.paipai.com) sales (C2C) EACH (www.eachnet.com)
In TAOBAO mall, sales volume of women`s clothes is bigger than the men’s even though the price per piece of women’s is little bit cheaper than men’s. Also men’s cloth shoppers includegirl friends or his mother. This indicated that service strategy for women customers will be very important in Chinese fashion business. TAOBAO on-line shopping Brand presents two ways to improve competitiveness. One way is dependent production and use self-design, in which businessmen can
183 maximize profits. The other way is to sell agent products or provide purchasing service. it`s always a good way to sell anything to the people who have no time to go to the Foreign country to shopping. Looking at the TAOBAO on line shopping, the best seller brand is ONLY from The BESTSELLER (Denmark International Fashion Company) in women’s wear, Dior in men’s wear, the harryssam a Chinese Brand made by Nishimatsu house Children's Products Co., Ltd. in children’s wear. We realized TAOBAO shoppers favored brands by age variable. Those who people aged less than 18 preferred the most Samir, and 18 to 24 years old people favored the most Metersbonwe. Giodano is favored by from 25 to over 60. In Chinese on line TAOBAO shopping mall, GIODANO is very strong brands. Online clothing shopping market in China is rapidly developing. When the world economic downturn, Chinese apparel industry must be concerned about the expansion of domestic demand. Online clothing shopping can reduce costs and this benefit can improve competitiveness. Thus many new brands through TAOBAO have been involved in international business.
4. Conclusion We realized that overall online shopping patterns are increasing. Current C2C market is still larger than B2C. In the future, the online clothing shopping patterns would be expandedmore than now in China. As competition more and more intense, B2C and C2C would be convergence trend. Because of any B2C merchant begin to use customer service and merchandise face to face. We predict that online clothing shopping market would be become a very mature market in China. It would have more and more chance to explore for the marketers.
References iResearch China Online Clothing Shopping Research (2011), Iresearch Marketing Consulting Co., Ltd. from http://www.iresearch.com.cn China Online Clothing Shopping Research (2011-2012) ，Iresearch Marketing Consulting Co. ,Ltd. fromhttp://wenku.baidu.com/view/26de8780d0d233d4b14e6957.html Chinese online clothing shopping Presentations (2010), analysis international.from http://www.analysys.com.cn/
184 M15
Influences of Materialism Value Tendency and Famous Brand Possession on the Rationality of Clothing Consumer Behavior
Jung Hoon Kim Dept. of Family and Children Wellbeing, Wonkwang University, Korea
This study was to understand materialism value, preference to the famous brand, and rationality of clothing consumer behavior, and to investigate the differences among Korean university female students. Ninety eight female students were surveyed by self reported questionnaire in October, 2012. Sample was composed of 1st year 23.5%, 2nd year 23.5%, 3rd year 26.5%, and 4th year 26.5%. Data was statistically analyzed by SPSS computer program. Frequency, Mean, an Exploratory Factor Analysis, K-Cluster Analysis, t-test, ANOVA with Duncan were utilized. As results of the study, First, three factors were loaded from the factor analysis for 13 questions related to the rationality of clothing consumer behavior. Three factors accounted 67.70% of the variances and identified planning-comparison buying (Adj R2=45.03, M=3058, SD=.74), sustainable usage (Adj R2=13.55, M=3.48, SD=.85), brand centered buying (Adj R2=9.12, M=3.39, SD=.92). Second, two factors were loaded from the factor anaysis for 12 questions related to the materialism value. Two factors accounted 76.47% of the variances and identified social success value(Adj R2=55.48, M=3.58, SD=.79), consumption-possession value(Adj R2=11.83, M=3.75, SD=.85), and living centered value(Adj R2=9.17, M=3.65, SD=.94). Third, there were significant differences in three factors of clothing consumer behavior by the famous brand possession (planning-comparison buying F=2.12, p=.050; sustainable usage F=1.84, p=.089; brand centered buying F=4.01, p=.001) and in two factors of materialism values (social success value F=3.269, p=.004; consumption-possession value F=2.229, p=.039). Fourth, there were significant differences in brand centered buying of clothing consumer behavior by the level of allowance (F=5.00, p=.003) and in three factors of materialism values (social success value F=6.90, p=.000; consumption-possession value F=4.75, p=.003; living centered value F=2.29, p=.08). Fifth, there were significant differences in brand centered buying of clothing consumer behavior by Average monthly income of own family (F=2.38, p=.075) and in consumption-possession value of materialism values (F=2.61, p=.056). Sixth, there were significant differences in sustainable usage of clothing consumer behavior by level of annual average expenditure for clothing (F=2.38, p=.075) and in two factors of materialism values (social success value F=5.84, p=.000; consumption-possession value F=4.91, p=.001). Seventh, there was significant difference only in brand centered buying of clothing consumer behavior by the number of famous brand (F=10.44, p=.000) and no significant difference in planning- comparison buying and sustainable usage. Also a significant difference was found any factors of the materialism values.
185 M16
Motivation to Purchase Famous Brand Bags and and Famous Brand Shopping Attitudes between 20’s and 30’s Korean Females
Jung Hoon Kim Institute for Better Living, Wonkwang University, Korea
First purpose of this study was to understand why and how Korean young females purchase famous brand bags and attitudes toward shopping for famous brands. And second purpose was to investigate the differences of age groups on the purchase motivation and shopping attitudes toward famous brand. 95 young females were surveyed for the study in October, 2012. The sample was consisted of fifty five 20’s (57.9%) and forty 30’s (42.1%). The SPSS computer program was used to analyze the data. Measurement was used questions based on the previous studies. These questions were measures by 5- Likert scale. Statistics used for data analysis were Frequency, Means, Standard Deviation, t-test, Pearson Correlation Analysis, and an Exploratory Factor analysis. Factor analysis procedure with varimax rotation was run. Only items with loadings of .50 or higher and the relative loading score were considered. The significant level for testing was at p<.10. As results of the study, first, 70.7% of respondents had a famous brand bags and 29.3% of them did not. 12.5% of sample responded to buy the famous brand bag generally at internet mall, 75% of them to buy at the department store, 12.5% of them to buy at others. Average price perceived as the famous brand by respondents was 1,135,700 Korean Won (1,100 Korean Won = $1.00). There was a significant difference between age groups. Average price of the famous brand bag perceived by 30’s was 1,421,428 Korean Won compared to 943,750 Korean Won by 20’s. Perceived price by 30’s was much higher than one by 20’s. Second, respondents’ number of a famous brand bag was 2.35 (SD=2.21). They bought average 1.21 (SD=.49) per year. The average price of the famous brand bag they bought was 973,750 Korean Won (SD=1,115,162). However, there were no significant differences in the number of bag, purchasing number per year, average prices of bag between 20’s and 30’s. Third, as a result of an exploratory factor analysis, three factors were loaded for the motivation into purchasing famous brands and accounted for 68.30% of the variance. Three factors were identified as psychological value motivation (Adj R2=48.20, M=2.92, SD=.90), social value motivation (Adj R2=13.88, M=3.25, SD=.86), and economic value motivation (Adj R2=6.22, M=3.67, SD=.94). The significant differences were found in psychological value motivation (t=-2.781, p=.000) and social value motivation (t=-2.144, p=.036) related to purchasing motivation for the famous brand between age groups. 30’s respondents (M=3.97, SD=.57) tended to purchase the famous brands because of the psychological value motivation compare to 20’s respondents (M=2.81, SD=.82). Also 30’s (M=4.04, SD=.64) perceived the social value of the famous brand compared to 20’s (M=3.09, SD=.87). Fourth, as a result of an exploratory factor analysis, two factors were loaded for famous brand shopping attitudes. These two factors accounted for 63.70% of the variance and identified as impulse (Adj R2=53.07, M=2.72, SD=.88) and guilty (Adj R2=10.63, M=2.25, SD=.79). The significant differences were found in impulse (t=-5.831, p=.000) and guilty (-2.851, p=040) between 20’s and 30’s. Therefore 30’s (M=3.79, SD=.25) felt more impulse in a famous brand shopping than 20’s (M=2.78, SD=.88). 30’s (M=2.95, SD=.44) felt more guilty than 20’s (M=2.25, SD=.79).
186 Fifth, as a result of Pearson Correlation Analysis, positive relationships among age, total income, motivation to purchase famous brand, and famous brand shopping attitudes were found. Therefore, the older age was, the higher social value motivation in the famous brand purchase was. Total income had positive relationship with age, psychological and social value motivation. The higher total income was, the higher the impulsive and guilty feeling of famous brand shopping attitudes were. Social value motivation positively related to impulse and guilty to the famous brand shopping attitudes.
187 T1
Studies on the Mechanical Properties and Hand of Wool Blended Fabrics for Men’s Shirts
Young Ah Kwon* *Division of Fashion Industry, Silla University, Korea
The handle of a fabric is an important factor impacting the tailor-ability as well as wear-ability of a garment. The quality of tailoring of a fabric is indicated by the results of Kawabata tests. Kawabata test attempts to find there lationships between fabric hand and some physical or mechanical properties of a fabric measured objectively. Despite the increase in objective evaluation of fabric handfor men's suits, there is little research on wool blended fabrics for men’s shirts. The aim of this study was to evaluate an objective research study for the advantages of wool blended fabrics to be used for men’s shirts by analyzing mechanical properties. Five plainfabrics and five plain/twill combined fabric structure were selected for this study. The results of the tensile properties indicate that wool blended fabrics are more rigid in warp than in weft. This asymmetry of bending is helpful in making men’s suits, which require varying levels of flexibility depending on the body movements. The more wool in blended fabrics, the more stable are to shearing. The fabrics with more wool content recover better when compressed, which is owing to the natural crimp in the wool fiber as compared to the fabrics with less wool content. The fabric structure has a high influence on the fabric properties. The plain/twill fabrics are mostly more elasticthan plain fabrics.The unbalance of the fabric is influence dsignificantly to differences of the surface roughness. It is only natural that twill line in fabric structure affects significantly to the surface roughness. Roughness of the balanced plain weave is quite low. Total Hand Values of all the 10 samples of S/S men’s shirts were low. The possible reason of the poor results indicated that the Kawabata method of obtaining Total Hand Value for Korean markets other than Japan. The conclusion is that a reliable subjective evaluation of wool blended fabric handle is need for future study.
188 T2
Up-cycling of Resources; Recycling and Fully Return to Nature Biocomposites
Seong Hun Kim†, Sang Ho Park Dept. of Organic and Nano Engineering, Hanyang University, Korea
Up-cycling of resources becomes an important social issue because of the extensive utilization of non-biodegradable polymers. Land fill is undesirable due to the space limitation and the secondary ground contamination. Incineration is not also preferred because of the emission of toxic gases which is generated from decomposition of polymer chains and residual additives. To resolve these waste management problems, the recycling method and fully return to nature biocomposites were investigated in this research. The ultrafine fiber wastes are mechanically recycled and poly(ethylene terephthalate) (PET) bottle wastes were chemically recycled. The recycled PET bottle flake was melt blended with virgin PET to improve the thermal and mechanical properties of recycled PET. Biomass derived polylactide is fully return to nature polymer and expected to replace petroleum-based commodity polymers because of its excellent physical properties. Polylactidebio composites reinforced by eco friendly fillers such as bamboo fibers and nanocellulose, were prepared for the high performance biocomposites. The thermal and mechanical properties, crystallinity, and biodegradability of polylactidebiocomposites were investigated. The nanocellulose was also incorporated into biobased polyurethane synthesized from castor oil and enhanced the thermal and mechanical properties of biobased polyurethane effectively.
Acknowledgment
This research was supported by National Research Foundation of Korea (Project No. 2012-047656 and 2012-0001597) and Ministry of Trade, Industry and Energy of Korea (Project No. 10035180)
† [email protected]
189 T3
A Study on the Functional Properties and Products of Hemp Fabrics made from Hemp Paper
1)† 2) 3) Hee Sook Kim ․ Jin Suk Koo ․ Baek Hyun Bae 1)Dept. of Clothing & Textiles, Andong National University, Korea. 2)Dept. of Medicinal Plant Resources, Andong National University, Korea. 3) Woo Baek Rayon Korea Co., Ltd, Korea.
There have been several trials in Andong with a view to developing the traditional cultural industry with its own cultural character, such as Andong hemp and Hanji. However such trials have faced difficulties due to various environmental causes. There has been an insufficient level of effort applied for the creation of traditional cultural products, as well as commercializing and publicizing it. The new alkaline pulping process combined with electron beam treatment was applied to utilize hemp bast tissues as a new valuable fibrous resource. Hemp bast tissues have some chemical properties with high holocellulose(80.54%) and lignin(9.27%) contents not to be defiberized by alkaline pulping only, compared with the bast part of paper mulberry. To make up for the weakness of traditional alkaline pulping process, electron beams were directly irradiated into the swelled bast tissue of hemp in NaOH solution and distilled water at a dose of 200 kGy. The electron beam treatment facilitated the defiberization of hemp bast tissues, and the handsheet from hemp bast fibers manufactured showed good apparent density, formation structure and air permeability. However, the handsheet had some mechanical properties with lower tensile, tear, burst strength and folding endurance. It is finally concluded that the combined pulping process with electron beam treatment could be suggested as a new alternative for hemp bast tissues. Using the two-for-one twisting machine, hemp yarn was manufactured from the uniform hemp paper tape, which was silt by a micro-slitter under the drying circumstances. In order to improve mechanical strength and yarn breaks, Manila and Andong hemp were made by changing he TPM(twist per meter) of yarn machine and their physical properties were characterized. The uniform filament type of hemp yarn with high tenacity and tensile strain can be manufactured by adjusting the TPM at 750. In addition, Andong hemp yarn has higher tenacity and tensile strain than Manila hemp yarn, however it was thick and uneven compared to Manila hemp yarn. Physical and functional properties of hemp fabrics made from hemp yarns were evaluated. Compared with Manila hemp fabric, Andong hemp fabrics showed better (tensile and tearing strength, antimicrobial activity) or similar (far-infrared ray emission, deodorization) properties, except for drying speed. In addition, Andong hemp fabric has higher tensile and tearing strength than Hanji fabric, whereas the opposite result was found in deodorization and drying speed. Meanwhile, both fabrics showed an excellent far-infrared ray emission and antimicrobial activity. These findings suggest that Andong hemp fabric is a promising candidate for natural functional fabrics, while can replace the existing rayon or Hanji fabrics. The hemp fabrics are suitable for the small quantity batch production system, while minimizing the environmental pollution. In this study, eco-friendly and antimicrobial medical products were developed by using its advantages. The developed products gained customer satisfaction in terms of
†[email protected]
190 eco-friendly, antimicrobial activity, safety, usability, aesthetic appearance and the green fabrics as a local specialty of the products developed.
191 T4
Characteristics of the Protective Painting Clothes Materials Considering Noxious Environment and Working Condition
Hyun Sook Bae† Dept. of Clothing & Textiles, Changwon National University, Korea
The painting work is implemented at inside, outside, and hull. The hermetically sealed space in painting workplace is extremely toxic and hazardous for workers because they are exposed to high organic solvents and minuscule dust. Especially, the organic solvents according to the Material Safety Data Sheets (MSDS), there are mainly toxins such as toluene, xylene, methyl alcohol, isopropyl alcohol, methyl isobutyl ketone, methyl ethyl ketone, etc. that cause the mucous membrane irritation, respiratory organs irritation, and the central nervous system disorders.
The painting workers use the cheap disposable painting working clothes as protective clothing which require an additional safety protection gear because the ones they use are not possible to use functional materials, and enough to protect the bodies of workers. However, the workers who are employed by subcontractors are not provided proper protection gears for the reason of cost-cutting, and are easily exposed to the industrial hazards at a painting workplace with no appropriate treatment.
Therefore, a protective painting clothes made of test woven fabric were compared with the existing painting clothes, the performance such as resistance to penetration by liquid chemicals, air permeability, water resistance, water vapour permeability, electrostatic propensity, breaking strength and tearing strength were evaluated. Afterwards, the test woven fabric improved considering the cost efficiency was made based on the initial test analysis. Also, the comparison between the wearing performance by material and overall comfort was implemented and the field test was conducted.
The resistance to penetration by liquid chemicals is the most important performance of painting working clothes. In the comparison, nonwoven fabric was superior to nylon. Paints and thinner which contains toluene causes xeroderma, dermatitis as well as anxiety, sleeplessness, headache when exposed for a long time. From the test, nylon has higher defense ability to toluene, whereas nonwoven fabric has higher air permeability and water vapour permeability. Meanwhile, nylon has higher electrostatic propensity not much to cause the static electricity, and also has higher breaking strength and tearing strength.
For the material performance, a nylon painting working clothes marked the best wearing performance. Based on the test analysis, the test-woven prototype clothing made considering cost efficiency showed higher water vapour permeability and resistance to penetration by liquid chemicals. The satisfaction with the wearing sense of painting working clothes regardless of the type of material was high in the order of movement comfort> sensual comfort> physiological comfort. And the satisfaction about the wearing performance and overall comforts by material, nylon showed higher than nonwoven fabric.
† [email protected]
192 T5
The sensibility and preference of fabrics dyed with the methanol extract of Juniperus Chinensis Heartwood
† Ki Yeon Nam, Jung Soon Lee Dept. of Clothing & Textiles, Chungnam National University, Korea
Methanol extract of juniper heartwood has fragrance and good antibacterial functionality. Its excellent antibacterial and insecticidal properties is used for various symptoms, as folk remedies and herbal medicine. And it is also used as incense or aroma for the purpose of removing decomposable odor or air purification. The purpose of this study is to analyze the factor structure, sensibility and preference through the evaluation of sensitivity of dyed fabrics with methanol extracts from juniper heartwood. And also to investigate the relationship between the olfactory sense such as fragrance, color, fabric and preference and then how it affects the sensibilities and preference. 20 pairs of adjective from the previous studies that overlaps fragrance, color, and clothes were selected to build the emotional rate scale, and then, each pair was divided into 7 level of emotional stage. Preference scale was divided into 5 levels. The results of analyzing the complex sensibility factors on dyed fabrics such as cotton, silk, wool, cotton-knit, ramie fabric using methanol extraction of juniper heartwood, 5 factors were drew: Activeness, Revelation, Tenacity, Mildness and Naturalness. The degree of harmony of fragrance, color and fabric was in order ramie >wool> silk > cotton> cotton knit and ramie showed the highest score 5.59. Preference for dyed fabrics was in order silk, ramie> wool, cotton knit> cotton. “This research was supported by Basic Science Research Program through the National Research Foundation of Korea(NRF) funded by the Ministry of Education, Science and Technology(2011- 0013869)”
† [email protected]
193 T6
Dyeing Properties of Cotton Fabrics Machine-Dyed by Mineral Dyestuffs Using Improved Washing Process
Hyunchel Kim ․ Hye-Kyung Kim† Dept. of Fashion Design & Textile Engineering, Chungwoon University, Korea Dept. of Fashion Design & Apparel Industry, Wonkwang University, Korea
I. Introduction
Recently, our near-environmental problems due to global warming, increase in indoor living, and change in living conditions have resulted in a wide-spread respiratory disease and atopic dermatitis of humans. To minimize these sociological problems development of multi-functional, fused textile materials, including all characteristics of atopic dermatitis prevention, antibacterial, odor removal, and anti-staining within one product is needed by using environmentally-friendly and naturally-dyed materials [Neetu, S. & J. Shahnaz, 2003]. In addition, EU banned the textile materials dyed with carcinogenic 100 or more azo dyes by October 1, 1998 [Hwang, E. K., et al., 1998]. Consumers now prefer environmentally-friendly textile materials and, thus, this provides a great opportunity for the materials dyed with natural dyes and the natural dyeing processes [Park, S. M., et al., 2010; Lee, Y. H., et al., 2000]. The present research studied process of cotton fabrics machine-dyed with four mineral dyes including jade, Ge-Lite, green jadeite, and loess. For washing process after dyeing, we compared two washing processes, i.e., an automatic, continuous washing process, which enhanced transport of dyed fabrics and a common, labor intensive tumbler washing machine. Furthermore, various properties of these machine-dyed, washed cotton fabrics were investigated.
II. Experimental Methods
2.1 Preparation of dyes fabrics The cotton fabrics were machine-dyed with four mineral dyes such as jade (A), Ge-Lite (B), green jadeite (C), and loess (D) and washed with two different washing processes (tumbler washing vs. automatic, continuous washing).
† [email protected]
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Fig. 1. Schematic image of auto-natural dyeing process.
2.2 Evaluation methods Dyed fabrics were evaluated for their tensile strength by using Universal Tester (K10KS, Housefiled). Color fastness for laundering, perspiration, crocking, and day-light was tested according to the standard test methods. Surface characteristics of dyed cotton fabrics were analyzed by an optical microscope to examine effect of different washing processes.
Fig. 2. Tumble washing and automatic washing machines.
III. Results and Discussion
Table 1 shows tensile strength data in both warp and weft directions washed by two different washing conditions. Results revealed that no significant differences were found in the tensile properties of the dyed cotton fabrics washed by two different washing processes.
Table 1. Physical properties of cotton fabrics machine-dyed by mineral dyestuffs A B C D
warp 360 300 380 390 Tumble Tensile weft 240 240 510 140 strength(N) warp 360 290 380 380 Automatic weft 230 240 510 140
Table 2 shows washing fastness, perspiration fastness, crocking fastness, and day-light fastness of cotton fabrics dyed with mineral dyestuffs. Results indicated that cotton fabrics machine-dyed by using jade, Ge-Lite, green jadeite, and loess demonstrated grade 4 or higher color fastness except a 195 few cases. This confirmed that machine dyeing with these mineral dyes was a feasible way to dye the cotton. In addition, little discrepancy was observed in color fastness between two washing methods. This suggested that the common, labor intensive washing could be replaced by the automatic, continuous washing process without producing any color fastness problems.
Table 2. Color fastness of cotton fabrics machine-dyed by mineral dyestuffs A B C D
Tumble 4-5 4-5 4-5 4-5 Laundering Automatic 4-5 4-5 4-5 4-5 Tumble 4-5 4-5 4-5 4-5 Perspiration Automatic 4 4-5 4-5 4-5 Tumble 4-5 4-5 4-5 4 Crocking Automatic 4-5 4-5 4-5 4-5 Tumble 4 2-3 4 4 Day-light Automatic 4 2-3 4 4
However, optical microscopic analyses shown in Fig. 3 indicated some level of pilling in the cotton dyed with mineral dyes and washed with tumble washing due to four or five washing cycles.
Tumble Automatic Tumble Automatic A(jade) B(Ge-Lite)
Tumble Automatic Tumble Automatic C(green jadeite) D(loess) Fig. 3 Cotton fabric dyed by mineral dyestuffs
IV. Conclusion
We machine-dyed cotton fabrics with four natural mineral dyes such as jade, Ge-Lite, green jadeite, and loess and compared two different washing systems (common, labor intensive washing vs. automatic, continuous washing) after dyeing. In addition, various color fastness of the dyed cotton fabrics was evaluated.. These dyed samples all showed grade 4 or higher level of color fastness (laundering, perspiration, crocking and day-light) except a few cases. Optical microscopy revealed that four to five washing in tumbling washing machine resulted in certain level of pilling problems on fabric surface. Therefore, the automatic, continuous washing process was preferable in terms of surface touch and pilling of the cotton fabric.
196 References
Neetu, S. and Shahnaz, J. (2003). “Dyeing Wool by a Combination of Natural Dyes Obtained from Onion Skin and Kilmora Roots”, Colourage, 1, 43-44, 2003. Hwang, E. K., Kim, M. S., Lee, D. S., and Kim, K. B. (1998). “Color Development of Natural Dyes with Some Mordants”, J Korean Fiber Soc., 35, 490-497. Park, S M., Kim, J. Y., and Yoon, N. S. (2010) Fiber Technology and Industry, 14, 3. Lee, Y. H., Hwang, E. K., and Kim, H. D. (2000). “Dyeing and Fastness of Silk and Cotton Fabrics Dyed with Cherry Extract”, J Korean Soc Dyers & Finishers, 12, 53-59.
197 T7
Textile Design Development for Rawganic Trendy Style
Chil Soon Kim, Eun Hye Jang Dept. of Textile & Fashion Design, Kyung Hee University, Korea
Ⅰ. Introduction Nowadays people are interested in organic material due to environmental issues. There are many key words for the ecofriendly materials. One of interesting word is “rawganic” vocabulary, which is key word for this season. For example, an Italian tile brand, MOSStile, attaches Scandinavian forest moss on environmentally-friendly tiles. There are also new ‘rawganic tours’ in which tourists can experience the value of nature from African jungle, private islands, polar regions or even space. In addition, via a new promoting tactic introducing scarcity, many brands attract customers with rawganic water or rawganic cosmetics that use ‘special water’, not ordinary purified one. ‘Rawganic’, which is a complex word that is formed from the words, ‘raw’ and ‘organic’, is a know-how using high quality natural materials without any processing. Starting with the beauty industry, it has overall become a trend in various industries related to food, clothing and accommodation. We got an inspiration from these key words. Thus this study wants to understand “rawganic trend and concept”, and then we select motives from the nature which can depict our desired concept. Designing is important to look at what’s happening in currently. Consumers become smarter meticulously checking ingredients. Therefore the purpose of this study was to understand current trend, and thendevelop textile design to fit rawganic trend.
II. Methodology From the secondary sources after the market research, we established a design concept, which is rawganic. We selected three different rare flowers as motifs. Drawing and paintingthe motifs has been executed with a water color medium by hand to produce hand craft image. Textile design developed with Photoshop and Illustrator Program, by doing lay out and repeat, mapping for the end use products after a hand drawing of the textile.
Ⅲ. Results and Discussion We selected rare flowers (Cypripepedium japonicum, Ranunculaceae) not easy to find, thus giving special beauty with scarcity (fig.1.). We set the design concept; main theme wasrawganic trend, and sub theme waspurity nature, and green aroma. We drew motifs with water color dye to look natural, and then scanned image. After this process, we tried to lay-out and make a unit repeat, and then we made patterns with square repeat, using Photoshop and Illustrator. In addition, we did mapping job to see if that design is suitable to the end use or not. One of our final design outcomes is presented at fig. 2. We employed designer Aquascutum’s clothing shown from 2012 SS London collection to look how our design work well for the end use.
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Fig. 1. Sources of inspiration
Fig. 2.Portfolio on textile development. Jang and Kim developed design 1 for prints. (Sub Theme 1 : Purity Nature)
IV. Conclusion At the end of last year, rawganic was selected one of key words in lifestyle in ‘2013 Trend Prospect’, which was released by the Consumer Trend Center (CTC) of Seoul National University (SNU). Come to think of it, it seems only a matter of time that ‘rawganic’ becomes our lifestyle, not a temporary trend. It will also be expected that, if textile designs utilize scarce, rare plants instead of common flower motif, it will surely attract consumers’ emotion.
References
Kim Nando, Lee Junyeong, Jeon Miyeong, Lee Hyangeun and Kim Seoyeong (2012.11.21.)Trend Korea 2013, 2013 Trend Prospect from the CTC, SNU. Man Sugim, a Danawa report (2013.05.20. 10:47:03) Emerging brands with the new trend, ‘rawganic’, Comparison of values beyond prices, Danawa (www.danawa.com). 2012 s/s collections #newyork&london (2011.10.23.)
199 T8
Visual Sensitivity of Full Seat Feature of Breeches
Young Ah Kwon Division of Fashion Industry, Silla University, Korea
Despite the increase in horse riding population, there is little research on garment for horse riders. The design of breeches should consider the needs and preferences of the horse riders. This study analyzed horse rider’s preferences and the visualsensitivity of full seat breeches. A quantitative survey of 30riders, 15 of them men and 15 women, was carried out. They all assessed 10 photographs of different full seat breeches. The results are as follows. The visual sensitivity adjectives were classified by viewers into four factors as attraction, activeness, simplicity, practicality. Full seat breecheswere felt more strongly in attractive, active, and preferred. Gender has no effect on sensitivity. Purchasingdesire was less affected by detailed design points with the exception of a very positive impact on color. This study reveals the need to consider the perspective of horse riders on full seat patches.
200 T9
Functionality of fabric dyed with Alnus japonica extract
† A-Na Sa, Jung Soon Lee Dept. of Clothing & Textiles, Chungnam National University, Korea
Alnus japonica belonging to Betulaceae is used as an ingredient in wooden manufacturing as well as various medical ingredients. The active ingredient of Alnus japonica extract known as tannins, which would have been mainly used as mordant black dyeing of silk fabrics, cotton fiber, leather emulsion, as well as have been used to improve the wash fastness. In Previous studies associated with Alnus japonica extract, studies ofdyeing property of Alnus japonica fruit extract and the pharmacological effects of the alder bark extract are a lot,but study ofdyeing propertyAlnusjaponica bark and heartwood almost cannot be found. However, Alnus japonicaheartwood is known to have the advantage of being cheaper price than bark and fruit, easy to get and have a large amount of tannin. Therefore, this study investigates the impact on dyeing property and functionality, according to dyeing conditions ofAlnus japonica bark and heartwood extract by hot water extract. Each 940g of bark and heartwood were extracted by hot water at a liquor ratio 1:5, temperature 100℃. It was repeated three times for each 60 min and then concentrated to 1000 ㎖. It was used as 100% stock solution. On cotton and silk fabrics, K/S value was measured in concentrations (20, 40, 60, 80, 100%), temperature (20, 40, 60, 80, 100 ℃), time (15, 30, 45, 60, 75 min). After mordanting with aluminum (KAl (SO4) 2), copper (CuSO4 • 5H2O) and iron (FeSO4 • 7H2O), measured the color change, dyeing fastness and functionality. “This research was supported by Basic Science Research Program through the National Research Foundation of Korea(NRF) funded by the Ministry of Education, Science and Technology(2011- 0013869)”
† [email protected]
201 T10
Studies on the Adsorption of Surfactant and Interfacial
Electrical Phenomena of the PI Film Treated with O2 and CHF3 Gas Plasma
In Sook Kang Dept. of Clothing & Textiles, Changwon National University, Korea
This study is the preliminary part in investigating the influence of surface morphology of substrates
on self-cleaning characteristics. Previous investigation results revealed that after O2 and CHF3 plasma treatment, the hydrophilicity and hydrophobicity of PI film was improved significantly. Such improvement enhances adsorption of surfactant and interfacial electrical effects which might be due to the changes of PI film to a more polarity or nonpolarity one. The understanding of the adsorption of surfactant and interfacial electrical effects can provide more information about the detergency and self-cleaning characteristics of substrates.
In this research, PI film was treated with plasma with different gases, namely, O2 and CHF3 gas.
Generally, the adsorption of surfactants of the film treated with O2 and CHF3 gas plasma were relatively higher than those of non-treated film, And the adsorption of surfactant was increased with an increasing concentration of the surfactant regardless of its treated condition. But the effect of ionic strength on the adsorption of surfactant varied with the treated condition. The (-)ζ-potential of film
and the interaction energy between α-Fe2O3 particle and the PI film treated with O2 and CHF3 gas plasma was largely higher than the original film, The results of this investigation indicates that the hydrophilicity and hydrophobicity of substrate were not related adsorption of surfactant to substrate and interfacial electrical effects.
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Author Index
Author Country Number Author Country Number
A Na Sa Korea T9 Hyun Chel Kim Korea T6
Baek Hyun Bae Korea T3 Hyun Ju Kwon USA M2
Chae Yeon Lee Korea M12 Hyun Sook Bae Korea T4
Chahyun Kim Korea M10 Hyung-Hee Park Korea M9
Chanju im Korea D5 In Sook Kang Korea T10
Chil Soon Kim Korea M11, M14, T7 Jaeok Park Korea M10
Chuyeon Suh Korea P9, P10 Jee Eun Han Korea D12
Dong Eun Choi Korea D1 Jeong Mee Kim Korea D4
Dora Liscia Italy D14 Jeong-Hwa Hong Korea H6
Eun Hye Jang Korea T6 Ji Hyung Lee Korea D11
Eun Ji Lee Korea M8 Jihye Lee Korea H12
Eun Joo Park Korea M12 Jin Hwa Lee Korea M8
Eun Young Kim Korea M4 Jin Suk Koo Korea T3
Eunjoo Choi Korea H5 Jiyoung Choi Korea P8
Eunkyung Lee Korea D10 Jo B. Paoletti USA H9
Haesook Kwon Korea D1 Jung A Song Korea D15
Haeyoung Lee Korea H3 Jung Hoon Kim Korea M5, M15, M16
Han a Cho Italy D13, D14 Jung Soon Lee Korea T5, T9
Hee Sook Kim Korea T3 Jungeun Lee Korea H2
Hee-Kwan Jeon Korea H8 Jungsoon Lee Korea P4
Hsueh Chin Ko Taiwan P9 Ken'ichi Sugano Japan H2
Hye Jung Jung Korea M7 Ki Yeon Nam Korea T5
Hyejoo Lee Korea Invited Speaker KO Hsieh-Chin Taiwan P7
Hye-Kyung Kim Korea H6, H7, H8, H9 Kyung Hee Lee Korea P3
H10, H11, T6 Kyung Wha Oh Korea M7 203 Author Country Number Author Country Number
Kyunghee Shin Korea P9 Su-Young Son Japan P2
Kyunghwa Lyu Korea H1 Tae-Gue Choo Korea M9
Meekyung Chung Korea H4 Thomas USA M2 Miae Do Korea P9 M. Brinthaupt
Mi-Kyung Chu Korea H7 ViViana Gravano Italy D13
MinhKieuThi Tran Vietnam P10 WolheeDo Korea P1
Myunghee Lee Korea P6 Yanghee Kim Korea H1
Invited Na Young Hong Korea Yanghee Kim Korea H12 Speaker
QuinHao Korea M14 Yeon Soon Hwang Korea M13
Ran Sug Seo Korea M6 Yeosook Kim Korea P5
Rodolfo Bargelli Italy D14 Yhe-Young Lee Korea Invited Speaker, D9
Sang Ho Park Korea T2 Yongju Kim Korea M3
Satoshi Muraki Japan P2 Yoo Jin Kwon Korea M1
Seong Hun Kim Korea T2 Yoon Sun Roh Korea D11
Sergio Venuti Italy D13 Young Ah Kwon Korea T1, T8
Shinmi Park Korea D6 Yun Ja Nam Korea P8
Shin-Young Lee Korea D8 Yunyoung Kim Korea P10
Soojin Kim Korea M1 Yutaka Tochihara Japan P2
Soon Hee Choi Korea P5
Soon Ja Kim Korea D3
Soonjee Park Korea P9, P10
Sukhee Lee Korea D7
Sun Young Park Korea D4
Invited Speaker, Sung Hye Jung Korea D12 Sunghee Lee Korea P10
SunYoung Kim Korea D2
204
Acknowlegement
We really appreciate of cooperation of all the members of program committee, and organizing staffs. Special thanks to hospitality of Korean Cultural Center, Berlin, Germany and Ambassy of the Republic of Korea in Germany.
205 TDB Introduction
TDB is the university company planning, producing, and selling fashion cultural products developed based on industry-academia collaborations of professors and students in the departmet of fashion marketing in relation to educaitonal process. Main products are fashion cultural products and special gift products.
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