The objectives of this study are (1) to classify fashion consumers based on innovativeness and nostalgia and (2) to explore the differences in product purchase criteria, fashion information sources, and attitudes toward eco-friendly and fast fashion products among the identified groups of consumers. A total of 327 respondents were clustered into four distinct groups: (1) high innovativeness and low nostalgia, (2) high innovativeness and high nostalgia, (3) low innovativeness and high nostalgia, and (4) low innovativeness and low nostalgia. The four groups showed significant differences in the purchase criteria of quality, design, and brands and no difference in the criteria of functionality and washing methods. The four groups preferred different sources of fashion information: fashion magazines, people in the street, and salespeople, but did not differ in terms of social networking services (SNS) and in-store displays. While the four groups had significantly different attitudes toward eco-friendly fashion products, they did not show differences in attitudes toward fast fashion products, excluding usefulness. These meaningful results provide guidelines for developing more effective merchandising strategies for both eco-friendly and fast fashion products.

This study was carried out to research the size satisfaction and the actual conditions of house caddie uniforms. Survey participants consisted of 310 caddies at 6 membership golf clubs. In order to perform this study 45 questionnaires were used, which consisted of questions pertaining to size satisfaction and sewing, laundry management, and inconvenience and, most importantly performance. Frequency analysis was implemented using SPSS 10.0. The results of this study could be summarized as followed; The highest dissatisfaction factors in the presently worn uniforms were sleeve length and pants hem width. The highest dissatisfaction factors in the sewing satisfaction were pocket and armpit area. Activity is the most important consideration in the choice of a uniform. These results will be applied to develop a comfortable uniform design.

This study aimed to investigate the influence of fashion lifestyles and consumption values on the difficulty of discarding unused fashion products. To achieve this purpose, this study surveyed female consumers aged 20s-50s to gain empirical analysis in July 2018. Data were analyzed for 236 subjects who were selected through online and offline sampling. The results were as follows. First, consumers tend to have difficulties discarding unused fashion goods. Consumers that have a higher income tend to have greater difficulty when choosing to discard items. Factors influencing the difficulty in discarding items were emotional attachment, usefulness in the future, economic value, and the lack of organizing skills. Usefulness in the future and the lack of organizing skills are the most significant factors influencing the discarding difficulty. Second, discarding difficulty had a significant relationship with fashion lifestyle, indicating that consumers seeking a fashion lifestyle that purchase more expensive brands tend to have more difficulty when discarding items. Third, each factor had a meaningful relationship with fashion goods consumption values. Those pursuing conspicuous value showed a greater difficulty discarding items due to emotional attachment, economic value, and lack of organizing skills. Pursuance of situational value showed a higher discarding difficulty than economic value factors. Pursuance of practical value showed a higher difficulty than both usefulness in future situations and economic value factors. Pursuance of differentiation value showed a higher discarding difficulty than emotional attachment and usefulness in the future factor. This study will help understanding consumers psychological mechanisms that experience difficulty in terms of the discarding of unused fashion goods.

The purpose of this study is to analyze the phenomenon of 'play' in contemporary fashion creation from an interactive point of view and to analyze cases in the contemporary fashion design creation process. The research method was a combined literature review and a case study. As a result of the research, we have derived the creations of interactive fashion design from the viewpoint can be categorized as 'play as creativity', 'mimesis', and 'deviance'. First, creativity can be seen in DIY products, customized products, and clothing that reflects the consumer's way of wearing. By actively intervening in the products and expressing their creativity in the product, it can be considered as a DIY creation. Second, mimesis in the creation of a fashion design that occurs when consumers imitate the designs of the famous fashion designers. Often similarity and difference are generated, while sometimes objects are newly constructed. Third, deviance means that an item is reborn with a completely different intention from the original shape and function by the intervention of the 'hacker' consumer. For example, the logo and the design of a luxury brand are transformed to satirize its legitimacy. In this paper, we analyzed the cases of fashion design creation as an interactive play and investigated their characteristics and tendencies.

This study was carried out to offer basic data that can be used for the production of outdoor pants for active senior males, which is emerging as a new consumer bracket in the rapidly aging society. To this end, this study modified and complemented the patterns of existing outdoor pants for active senior males, that received the most positive evaluations. On the basis of the research and outdoor wear assessment results, this study proposed the matters to consider in the manufacturing of outdoor pants for active senior males. As a result of the existing outdoor wear's wearing assessment, the pants of brand C were revealed to be the best. This study actually designed research outdoor wear by modifying the problematic parts by adding and subtracting spare length or circumference, on parts where fit satisfaction was low, and by referring to the selected brands' patterns. The research outdoor pants were designed by referring to the preferred outdoor types and colors that were revealed in the survey results. The wearing assessment was conducted by comparing the manufactured research outdoor pants and the existing outdoor pants, which were selected as the best outdoor pants. Consequently, this study verified the fit of the research outdoor pants was superior to most items. This study proposed the final patterns of outdoor pants suitable for active senior males through the modification of several items that required some improvements revealed via the wearing assessment of the research outdoor.

The Joseon Tongsinsa Festival has been held annually in May in Busan. It reenacts the procession of the Joseon Tongsinsa that the Joseon Government delegated to Japan four times in the 18th century. In the most important situation during the meandering period, three envoys (Jeongsa, Busa, Jongsagwan) who led the Joseon Tongsinsa, wore Jobok, but at the Joseon Tongsinsa Festival, the three envoys are wearing Jobok, which are not historically accurate. The Jobok called Geumgwan Jobok and were comprised of Yanggwan, Eui, Sang, Jungdan, Peasul, Su, Pumdae, Daedae, Paeok, Hall, Mal, and Hwa. These were ranked from first class to ninth class by personal ornamentation such as Yanggwan, Su, Pumdae, Paeok. So, this study is focused on ascertaining the Jobok of the 18th century for the three envoys who were ranked third grade. This study is based on literature, artifacts, and portraits that can depict the 18th century Jobok including all components. It was based on The 7th Korean Human Body Survey Final Report (2015) in order to produce all components of the Jobok of the modern males in their 50s who are playing the role of the three envoys in the Joseon Tongsinsa Festival.

This study aims to determine the characteristics of new senior women's torso shapes. The data was collected from the 7th Size Korea, which analyzed 412 women between the ages of 55-69. A factor analysis was performed based on 20 indices, including eight based on circumference, eight based on height and length measurements, and four based on torso flattening. The results of the factor analysis suggest five main factors: torso silhouette, longitudinal size of the body, torso flattening rate, abdominal shape, and posterior longitudinal size. The results of the cluster analysis suggest three overall types: Type 1 is the inverted triangular obese shape which is characterized by large breasts, small buttocks, a short height, and a forward-bending posture; Type 2 is the rectangular, slim shape which is characterized by a forward neck and a flat front and back of the torso, and is the most slender among the three types; Type 3 is the large rectangular, overall obese shape, which is characterized by a round shape with large breasts, waist, and buttocks, and a forward-bending posture with a protruding back, and this is the most obese type. According to the results of the cross-tabulation, women aged 55-59 showed no trend in body shape; women aged 60-64 showed an increases in the inverted triangular obese shape and the large rectangular, overall obese shape; women aged 65-69 showed an increase in the large rectangular, overall obese shape and a decrease in the rectangular slim shape. In summary, new senior women showed body shape characteristics of being short, more obese having, a bent over posture. As they grew older, the curves disappeared, and the body becomes rounder. The study found that variation in body shape exists among new senior women in the aged society.

The purpose of this study is to examine the clothing component information and attributes as the control parameters for the 3D modeling process of the biomorphic clothing sculpture using a parametric methodology. The 3D modeling parameters of biomorphic clothing sculpture were identified as exaggerated silhouette, surface texture, and digital color. The types of exaggerated silhouettes were shoulder and hip exaggeration, shoulder exaggeration, hip exaggeration, vertical exaggeration, and horizontal exaggeration. The types of surface texture were embossed, lacy, furry, and complex textures. The types of digital color were chrome, blur, blend, and acid colors. The characteristics of morphological representation due to the attributes of these control variables were identified as morphological variation, organic morphology, organizational morphology, and realistic morphology. As a result, it was found that the parameter attributes were applied to the biomorphic clothing sculpture parametric design process and developed into various shapes.

The hat on the back of the upper jacket in Scythian, in of northern region surrounding the Black Sea, is described as a typical woolen hood, but until now has been overlooked in Korean costume studies. The purpose of this study is to analyze the hat on the upper jacket in Scythians and to recognize the meaning of the hat. A further purpose is to complete the basic framework of research concerning the Scythian costume by adding the part that was overlooked previously As for the research method, we collected literature, previous research results, the exhibition catalog, and the related artifacts for analysis. The literature was collected at the German Archaeological Research Institute. The analysis of artifacts was based on data collected by the researchers at the Heremitage Museum in Russia and data was taken by the staff of the Heremitage Museum. The conclusions of this study are as follows: Among the artifacts in the northern region of the Black Sea, it was perviously believed that Scythians status was signified by the wearing of hat-tops. Regardless of age, warriors and knights all wore upper jackets with hats, so it appears that the people who are active wore upper jackets with hats. On the other hand, it was assumed that the royal family, who wore ornamented, colorful, and decorative hats were not observed to have worn upper jackets with hats, and therefore did not require a hat. Therefore, it is considered that the hat in the Scythian society was a costume element emphasizing practicality, not necessarily a class symbol.

This study intends to present the directions for effective up-cycling design using Marquage painting through analysis of trends and the formative characteristics of fashion products. Research was conducted through a literature review (published papers, books and web site contents). Cases were analyzed by examining the contents of web sites of global luxury brands, representative workshops, and social network sites (SNS). The results of the study are categorized as follows, First, Marquage paintings are continuously used by global luxury brands and have developed as an expression of self-ownership and the personalization of one's identity. Second, fashion brands use Marquage painting as a customized service for sales. On the other hand, Marquage paintings are used as a kind of up-cycling to present old goods as brand new ones. Third, the patterns used in Marquage painting were classified into five types: geometric patterns, logo patterns, character patterns, lettering patterns, and art patterns. Moreover, formalization by Marquage patterns is represented by identification, customization, and up-cycling. Finally, to up-cycle the expressive features of Marquage- sustainability, scarcity, storytelling, and originality based on factors of up-cycling need to be reflected.