자기감시성과 이용상황의 특성이 명품 패션브랜드와 패스트 패션브랜드 선택에 미치는 영향 비교 분석

주아진 동국대학교 2016 국내석사

This study intended to investigate how consumer's purchase decision about fashion clothes would be influenced by usage context and individual difference in self monitoring. More specifically, this study classified fashion clothes into premium fashion brand and fast fashion brand and investigated how consumer's purchase behavior for each type of fashion brand would be moderated by usage context and self monitoring trait. Toward this end, reasoned action theory was employed to unveil the psychological processes underlying the decision process for premium fashion brand and fast fashion brand, respectively. Here, brand attitude and subjective norm were introduced as the mediator for purchase intention. Two pretests were conducted to select different types of usage context (conspicuous context versus non-conspicuous context) as well as different fashion brands (premium fashion brand versus fast fashion brand). Based on the preceding tests, library attendance was chosen as the nonconspicuous context and fashion show attendance was chosen as the conspicuous context. Next, Burberry was chosen as a premium fashion brand and H&M was chosen as a fast fashion brand. The main study had a mixed factorial design with usage context and fashion brand type as the between-subject factors and self-monitoring as the within-subject factor. A total of 240 subjects participated in the experiment and each of them was randomly assigned into one of eight conditions (self-monitoring groups were classified post hoc). The results showed that subjective norm and brand attitude did not change according to different usage contexts. Purchase intention for premium fashion brand was higher in the conspicuous context than in the nonconspicuous context. However, regarding fash fashion brand, no difference of purchase intention was found between different usage contexts. As for self-monitoring trait, low self-monitors showed higher purchase intention for fast fashion brand under conspicuous usage context than under nonconspicuous usage context. For high self-monitors, usage context had little impact on purchase intention for both premium fashion brand and fast fashion brand. Finally, brand attitude had increasing impact on purchase intention among high self-monitors, whereas subjective norm had increasing impact on purchase intention among low self-monitors, which is contrary to our expectation. Further in-depth analyses were conducted to understand the research findings and theoretical and marketing implications were discussed.

A Study on the Effects of Performance Anxiety and Anxiety Coping on Self-confidence of Students Majoring in Fashion Performance

조경 세한대학교 일반대학원 2022 국내박사

Abstract Fashion performance is an art that conveys emotions and shows life by shaping images through human expressions and body movements. The essence of fashion performance is that the performer memorizes and understands the music and fashion works, go through the necessary training of performance ability and body function, he/she then performs the secondary processing of the intrinsic of the fashion and uses the brain nerve to control the body's local or partial muscles, and finally makes the fashion show in a more perfect form. Only when the performer adjusts his/her body and mind to the best condition, together with repeatedly studying the design concept of the fashion and the inner meaning of the fashion before the performance, and deeply understanding the content of its emotional expression, can he/she convey it to the audience through the performer's body and expression. The researcher has been a professional model for four years and experienced the process from low self-esteem to self-confidence, and anxiety and nervousness before going on stage when learning the profession. In more than twenty years of experience of being a teacher of fashion performance, I can feel the slow progress of learning caused by the poor psychological state of students during their study period, and they cannot perform at their normal level during examinations, in stage performances, and competitions and cannot enjoy the fun of on-stage performance. In order to help fashion performance students to get out of the shadow of psychology and to put their professional ability in learning and performance in full play, the researcher reviewed psychology, art class psychology, music performance anxiety, and other related literature and use that as theoretical support, To explore the differences in fashion show performance anxiety, anxiety coping and self-confidence of fashion performance majors with different gender, grade, performance time and performance frequency, and to analyze the impact of performance anxiety and anxiety coping on self-confidence of fashion performance majors. and made suggestions to adjust their psychological state. The study was conducted by means of an anonymous questionnaire, and 230 questionnaires were collected from three universities in Hubei Province with a major in fashion performance, of which 210 were valid, with a valid return rate of 91%. The questionnaires consisted of three questionnaires: the Fashion Performance Anxiety Questionnaire, the Fashion Performance Anxiety Coping Questionnaire, and the Fashion Performance Confidence Questionnaire, respectively. Data analysis of the questionnaires was conducted using SPSS 26.0. The main results are as follows: There was no significant difference between male and female students in performance anxiety, anxiety response, and self-confidence. There were differences in performance anxiety among students in different grades. Lower-grade students were more anxious in stage performances. Senior students had a stronger ability to cope with anxiety than other students, and the self-confidence level of senior students was better than that of lower-grade students. The longer the costume performance study time, the lower the performance anxiety of students. In the anxiety response aspect after one year of studying fashion performance, students could cope with performance anxiety through self-encouragement and environmental encouragement. Individuals who had studied for more than 2 years had significantly higher self-affirmation scores than individuals who had studied for less than one year. There were differences in the psychological factors of students with different performance frequencies, and students who had more experience in fashion performances had lower anxiety levels. In the anxiety coping aspect students who had more experience in costume performance had a stronger ability to cope with anxiety. Students who had more experience in costume performance had a higher level of self-confidence. Data analysis indicated that the relationship between anxiety, anxiety response, and self-confidence in performance by fashion performance students was the higher the anxiety level, the lower the anxiety response ability; students with high anxiety levels had low self-confidence; students with stronger anxiety response ability had higher self-confidence. Through the above analysis, empirical evidence was gethered to demonstrate the performance anxiety, anxiety coping, and self-confidence status of fashion performance students. In view of the above findings, it is necessary to alleviate the "performance anxiety" of students in the lower grades and those who perform less frequently, to improve students' mental health in general, and to enhance their anxiety coping ability and self-confidence. The results of this study are consistent with the researcher's observations and hypotheses on the psychological aspects of performance anxiety, anxiety coping, and self-confidence of fashion performance students over the years, and are expected to provide theoretical support and practical references for group intervention counseling to improve the performance anxiety, anxiety coping, and self-confidence of fashion performance students.

남성의 패션관여상황에 따라 추구하는 자기이미지와 선호 패션스타일

홍윤정 연세대학교 대학원 2015 국내박사

문화성향 및 자의식이 의복소비행동에 미치는 영향

천문선 연세대학교 대학원 2004 국내석사

본 연구는 우리나라 소비자들의 의복소비행동을 문화·심리적 측면에서 이해하고자 하였다. 이를 위해 문화성향 및 자의식과 의복소비행동간의 관계를 살펴보고, 문화성향 및 자의식이 의복소비행동에 미치는 영향과 그 영향에 있어서 의복관여의 매개성을 살펴보고자 하였다. 수도권에 거주하는 20대 직장인 미혼 여성 445명을 대상으로 설문조사를 실시하였으며, 수집된 자료를 SPSS 10.0 for Windows 프로그램을 이용하여 분석하였다. 자료의 분석방법으로 빈도분석, 요인분석, 신뢰도 검증, 피어슨 상관분석, t-test, 일원분산분석, Scheffe-test, 중다회귀분석를 이용하였다. 측정도구의 요인분석 결과, 문화성향의 하위차원은 수직적 개인주의, 수직적 집단주의, 수평적 개인주의, 수평적 집단주의의 네 요인으로, 자의식은 공적 자의식과 사적 자의식의 두 요인으로 구성되었다. 또한 의복관여는 단일요인으로 도출되었다. 의복소비행동의 과소비성은 과시성과 체면지향성의 두 요인으로, 동조성은 규범동조성, 동일시성, 반동조성의 세 요인으로, 유행성은 유행추종성과 유행혁신성의 두 요인으로 구성되었다. 본 연구의 결과를 요약하면 다음과 같다. 첫째, 개인집단중심 성향은 의복소비행동의 규범동조성, 반동조성, 유행혁신성과 관계가 있으며, 수직수평중심 성향은 의복소비행동의 체면지향성과 관계가 있는 것으로 나타났다. 또한 수직적 개인주의, 수평적 개인주의, 수직적 집단주의, 수평적 집단주의 성향은 의복소비행동의 규범동조성, 반도조성, 유행혁신성과 관계가 있는 것으로 나타났다. 둘째, 자의식은 의복소비행동의 체면지향성, 규범동조성, 동일시성, 반동조성, 유행추종성과 관계가 있는 것으로 나타났다. 셋째, 문화성향을 개인집단중심 성향, 수직수평중심 성향으로 분류하였을 때, 고관여 집단에서는 공적 자의식, 사적 자의식, 수직중심 성향, 개인중심 성향이 의복소비행동의 과소비성, 동조성, 유행성에 영향을 미치고, 저관여 집단에서는 집단중심 성향과 공적 자의식이 의복소비행동의 규범동조성, 반동조성, 유행혁신성에 영향을 미치는 것으로 나타났다. 문화성향을 수직적 개인주의, 수직적 집단주의, 수평적 개인주의, 수평적 집단주의 성향으로 분류하였을 때, 고관여 집단에서는 수직적 집단주의, 수평적 개인주의, 공적 자의식, 사적 자의식이 의복소비행동의 과소비성, 동조성, 유행성에 영향을 미치고, 저관여 집단에서는 수직적 집단주의, 수평적 개인주의, 공적 자의식이 의복소비행동의 과시성, 규범동조성, 반동조성, 유행혁신성에 영향을 미치는 것으로 나타났다. 또한, 의복관여가 높은 집단에서 문화성향 및 자의식이 의복소비행동에 미치는 영향의 설명력이 높게 나타났다. The purpose of this study was 1) to identify the relationship between clothing consumption behavior and cultural tendency as well as self-consciousness, 2) to identify the effect of cultural tendency and self-consciousness on their clothing consumption behavior, and 3) in the relation to this effect, to identify the mediation effectiveness of clothing involvement.The data were collected from 445 Korean single females in the age of twenties who currently hold jobs in the metropolitan area, and were analyzed by Frequency, factor analysis, reliability test, pearson correlation analysis, t-test, ANOVA and multiple regression analysis.The results of this study were as follows:1) Four dimensions of cultural tendency were identified: vertical individualism, horizontal individualism, vertical collectivism and horizontal collectivism. Two dimensions of self-consciousness were identified: private self-consciousness and public self-consciousness. One dimension of clothing involvement was identified: clothing involvement. Two dimensions of overconsumption on clothing consumption behavior were identified: conspicuous propensity and face orientation propensity. Three dimensions of conformity on clothing consumption behavior were identified: normative conformity propensity, identificational conformity propensity and anticonformity propensity. Two dimensions of fashionability on clothing consumption behavior were identified: fashion following propensity and fashion innovativeness propensity.2) idiocentric and allocentric tendency had relation to normative conformity propensity, anticonformity propensity, fashion innovativeness propensity while verocentric and horocentric tendency had relation to face orientation propensity In addition, vertical individualism, horizontal individualism, vertical collectivism and horizontal collectivism tendency had relation to normative conformity propensity, anticonformity propensity, fashion innovativeness propensity. 3) self-consciousness had relation to face orientation propensity, normative conformity propensity, identificational conformity propensity, anticonformity propensity, fashion following propensity.4) Classifying cultural tendency to idiocentricallocentric and verocentrichorocentric tendency, private self-consciousness and public self-consciousness, verocentric tendency, idiocentric tendency influenced overconsumption, conformity, fashionability in high clothing involvement group, whereas allocentric tendency and public self-consciousness influenced normative conformity propensity, anticonformity propensity, fashion innovativeness propensity in low involvement group. Classifying cultural tendency to vertical individualism, horizontal individualism, vertical collectivism and horizontal collectivism tendency, vertical collectivism, vertical individualism tendency, public self-consciousness and private self-consciousness effected overconsumption, conformity, fashionability in high involvement group, whereas vertical collectivism, horizontal individualism tendency, public self-consciousness effected conspicious propensity, normative conformity propensity, anticonformity propensity, fashion innovativeness propensity in low involvement group. In addition, cultural tendency and self-consciousness in high involvement group were significantly explained impact of clothing consumption.

한국 직장여성의 일상 상황별 추구하는 자기이미지와 선호 패션스타일과 색채

홍혜림 연세대학교 일반대학원 2016 국내박사

현대사회의 사람들은 일상생활에서 다른 사람을 보면서 이미지나 인상을 형성하게 되는데, 이 때 의복이 중요한 단서가 되기 때문에 사회활동을 하는데 있어 상황에 맞는 패션스타일을 착용하는 것이 중요하다. 사회활동을 활발히 하는 젊은 직장여성에게 의복은 자신의 개성을 표현하는 수단이기 때문에, 의복에 대한 소비행태도 개성에 맞춰 다양해졌다. 따라서 이 연구의 목적은 직장여성 중 가장 높은 비중을 차지하는 25-34세 직장여성의 일상 상황별로 추구하는 자기이미지와 선호 패션스타일과 패션색채의 특성을 규명하여 이를 포지셔닝 맵으로 제시하는 것이다. 연구의 방법은 문헌연구를 통해 25-34세 직장여성의 특성, 일상 상황과 패션스타일, 자기이미지에 대하여 고찰하고, 심층면접을 통해 직장여성의 일상 상황과 상황별 추구하는 자기이미지와 선호 패션스타일, 패션색채에 대한 기초조사를 실시하였으며 이를 토대로 설문조사를 실시하였다. 선행연구를 통해 도출한 자기이미지 형용사 어휘 21개와 여성복 브랜드 14개를 조사하여 수집한 패션스타일 자극물 24개와 패션색채 48개를 척도로 하여, 서울/경기지역에서 근무하는 25-34세 직장여성 329명을 대상으로 2016년 5월 온라인 리서치 방식으로 진행하였고, 수집된 자료는 SPSS 21.0 통계 프로그램을 사용하여 분석하였다. 이 연구의 결과를 요약하면 다음과 같다. 첫째, 문헌연구와 심층면접을 통해 25-34세 한국 직장여성의 일상 상황을 공적상황과 연계된 외부 미팅이나 프레젠테이션, 평상시 근무, 복합상황과 연계된 결혼식이나 가족모임, 이성과의 소개팅이나 데이트, 그리고 사적상황과 연계된 친한 친구나 지인과의 만남의 5가지 상황으로 구분하였다. 둘째, 직장여성이 일상 상황에서 추구하는 자기이미지는 ‘품위있는’, ‘활동적인’, ‘화려한’, ‘여성스러운’, ‘평범한’의 5가지 유형으로 분류되었고, 직장여성이 보편적으로 추구하는 자기이미지는 품위있는, 활동적인 이미지로 나타난 반면, 화려한 이미지는 전체적인 추구 정도가 낮은 편이었다. 품위있는 이미지는 외부미팅이나 프레젠테이션 상황에서, 활동적인 이미지는 친한 친구나 지인과의 만남 상황에서 가장 높게 추구되었다. 여성스러운 이미지는 이성과의 소개팅이나 데이트 상황에서 가장 높은 수준으로 나타났으며, 외부미팅이나 프레젠테이션, 평상시 근무 상황에서 추구 정도는 낮았다. 평범한 이미지는 평상시 근무 상황에서 가장 높은 것으로 분석되었다. 셋째, 직장여성이 일상 상황에서 선호하는 패션스타일은 ‘매니쉬’, ‘로맨틱/내추럴’, ‘섹시/아방가르드’, ‘엘레강스/클래식’의 4가지 유형으로 분류되었는데, 5가지 일상 상황 전체에서 엘레강스/클래식 스타일이 가장 높게 선호된 반면, 섹시/아방가르드 스타일이 가장 낮은 선호도를 나타냈다. 매니쉬 스타일은 평상시 근무 상황과 친한 친구나 지인과의 만남에서는 선호되었으나, 이성과의 소개팅이나 데이트 상황에서는 가장 낮은 선호도를 보였고, 로맨틱/내추럴 스타일은 친한 친구나 지인과의 만남 상황에서 선호도가 높았지만, 외부미팅이나 프레젠테이션 상황에서는 선호도가 낮았다. 넷째, 직장여성이 일상 상황에서 선호하는 패션색채는 전체적으로 검정과 흰색의 선호도가 가장 높아 직장여성은 무채색 의복을 선호하는 것으로 나타났다. 유채색에서는 직장과 관련된 공적상황일수록 선호 패션색채가 단조로웠으며, 사적상황인 친한 친구나 지인과의 만남 상황에서는 가장 다양한 색상과 색조가 선호되었다. 이성과의 소개팅이나 데이트 상황은 빨간색 계열의 선호도가 가장 높아 뚜렷한 차이를 보였다. 상의는 흰색이나 고명도 색채의 선호도가 높았던 반면, 하의는 주로 검정이나 어두운 남색이 선호되는 것으로 나타나 직장여성은 밝은 색 상의에 어둡고 차분한 색 하의가 조화롭다고 여기는 경향이 있음을 알 수 있다. 다섯째, 직장여성의 일상 상황별 추구하는 자기이미지와 선호 패션스타일의 상관관계를 분석한 결과, 5가지 일상 상황 전체에서 품위있는 이미지를 추구할수록 엘레강스/클래식 스타일을 선호하고, 화려한 이미지를 추구할수록 섹시/아방가르드 스타일을 선호하는 것으로 나타났다. 매니쉬 스타일은 이성과의 소개팅이나 데이트 상황에서 평범한 이미지를 추구할수록 선호도가 높아졌으나, 여성스러운 이미지를 추구할수록 선호도는 낮아졌고, 친한 친구나 지인과의 만남 상황에서는 평범한 이미지를 추구하거나 품위있는 이미지를 추구할수록 매니쉬 스타일 선호도가 높아졌다. 여성스러운 이미지와 대부분의 상황에서 양의 상관관계가 있는 로맨틱/내추럴 스타일은 외부미팅이나 프레젠테이션, 이성과의 소개팅이나 데이트 상황에서는 화려한 이미지를 추구할수록 선호도가 높아진 반면, 결혼식이나 가족모임, 친한 친구나 지인과의 만남 상황에서는 평범한 이미지를 추구할수록 선호도가 높아져 상황에 따라서 추구하는 자기이미지와 선호 패션스타일의 관계가 변화하는 것을 알 수 있었다. 이상의 결과를 종합하면, 25-34세 직장여성들은 일상 상황별로 각기 다른 선호도를 보이기보다는 보편적으로 추구하는 자기이미지로 품위있는, 활동적인 이미지와 선호하는 패션스타일로 엘레강스/클래식 스타일, 패션색채로 검정과 흰색이 있으며, 그 외 자기이미지나 패션스타일, 패션색채는 상황에 따라서 추구하거나 선호하고 기피하기도 하는 특성을 가지고 있다. 일상 상황별로는 외부미팅이나 프레젠테이션 상황에서 자기이미지 중 품위있는 이미지, 패션스타일은 엘레강스/클래식 스타일의 선호도만 높고, 검정, 흰색과 남색만 선호된 것과 대조적으로 친한 친구나 지인과의 만남 상황에서는 대부분의 자기이미지와 패션스타일이 평균 점수 이상이고 패션색채도 가장 다양한 색상과 색조가 선호되어 직장여성은 외부미팅이나 프레젠테이션 상황을 가장 보수적인 상황으로 인식하고 친한 친구나 지인과의 만남 상황은 가장 편안하고 자유로운 상황으로 여긴다고 해석할 수 있다. 이러한 상황별 차이는 공적, 사적, 복합상황의 기준보다 더 세부적으로 직장 내부와 직장 외부와 같은 장소적 측면, 만나는 사람의 성별 측면, 그리고 만나는 사람과의 친밀도 측면에 따라 다르게 나타났다. 이 연구는 25-34세 직장여성들의 일상 상황별 추구하는 자기이미지와 선호 패션스타일과 패션색채의 관계를 규명하고, 그 결과를 포지셔닝 맵으로 제시함으로써 패션산업에서 활용 가능한 정보를 도출하였다는 데 의의가 있다. In modern society, people can create image and impression from seeing other people in daily life. At this time, it is critical to wear suitable fashion style in societal activities because clothes is a vital clue. As clothes is a tool to express their personality for young career women who socialize well, clothing consumption behavior has been diversified according to their own personality. Therefore, the objectives of this study are to identify seeking self-image, preferred fashion style and characteristics of fashion color according to daily situation for career women who are 25 to 34 years old with the highest percentage of working women, and to suggest that as positioning map. The study explored 25 to 34 year old career women's characteristics, their daily situation and fashion style, and self-image through literature review. A basic investigation of career women's daily situation, seeking self-image, preferred fashion style, and fashion color according to situation was conducted by employing in-depth interview, then a survey was conducted based on that. The measurements of the study are as follows. Twenty one items of self-image adjective were extracted from existing studies, and twenty four items of fashion style stimulus and forty eight items of fashion color were collected by examining fourteen female clothing brands. Online survey was conducted for 329 career women who are 25 to 34 years old working in Seoul/Gyeonggi area in May 2016. The collected data was analyzed by using SPSS 21.0 statistical program. The results of the study are as follows. First, 25 to 34 year old career women's daily situation was classified as five situations from literature review and in-depth interview; public situation such as external meeting and presentation, ordinary work, complex situation such as wedding and family gathering, blind date or date, private situation such as meeting with friends and acquaintances. Second, career women's seeking self-image in daily situation was classified as five types such as 'elegant', 'active', 'glamorous', 'feminine', and 'ordinary'. The results showed that career women generally sought elegant and active self-image, however, the extent of seeking glamorous self-image was low. The results indicated that 'elegant' seeking self-image was the highest level in external meeting and presentation, and the 'active' seeking self-image was the highest level in meeting with friends and acquaintances. Also, it showed that the 'feminine' seeking self-image was the highest level in blind date or date, however, it was low in external meeting and presentation, and ordinary work. Additionally, the 'ordinary' seeking self-image was the highest level in ordinary work situation. Third, career women's preferred fashion style in daily situation was classified as four types;'mannish', 'romantic/natural', 'sexy/avant-garde', 'elegant/classic'. Among five daily situations, 'elegant/classic' style was most preferred, however, 'sexy/avant-garde' style was preferred lower than any other styles. 'Mannish' style was preferred in ordinary work situation and meeting with friends and acquaintances, however, it was shown as the lowest level of preference in blind date or date. 'Romantic/natural' style was highly preferred in meeting with friends and acquaintances, however, it was shown as low level of preference in external meeting and presentation. Fourth, career women's preferred fashion color in daily life was shown as the highest level of preference for black and white, which indicated that career women preferred achromatic color clothes. In chromatic color clothes, preferred fashion color was flat color in public situation related to work, however, various hue and tone was preferred in private situation such as meeting with friends and acquaintances. Also, the result showed a distinguished result such as high level of preference for red color in blind date or date. White and bright color for the top was highly preferred, however, black and navy color for the bottom was preferred. It means career women tend to consider that bright color for the top and dark and flat color for the bottom is harmonious. Fifth, the results of the correlationship between career women's seeking self-image according to daily situation and preferred fashion style are as follows. As career women sought more 'elegant' self-image in all five daily situations, 'elegant/classic' style was more highly preferred, and as they sought more 'glamorous' self-image, 'sexy/avant-garde' style was more highly preferred. As they sought more 'ordinary' self-image in blind date or date, 'mannish' style was more highly preferred, however, as they sought more 'feminine' self-image, 'mannish' style was lowly preferred. In addition, as they sought more 'ordinary' and 'elegant' self-image in meeting with friends and acquaintances, 'mannish' style was highly preferred. 'Romantic' style generally had a positive correlationship with 'feminine' self-image. As they sought more 'glamorous' self-image in external meeting and presentation, and blind date or date, 'romantic' style was highly preferred, however, as they sought more 'ordinary' self-image in wedding and family gathering, and meeting with friends and acquaintances, 'romantic' style was highly preferred. It indicated that the relationship between seeking self-image according to situations and preferred fashion style is variable. In summary, 25 to 34 year old career women generally sought ‘elegant’ and ‘active’ self-image, preferred ‘elegant/classic’ style, and black and white fashion color, and also had characteristics to seek, prefer or avoid a certain self-image, fashion style, and fashion color according to situations. In daily situation, they sought 'elegant' self-image and preferred 'elegant/classic' fashion style in external meeting and presentation. Most self-image and fashion style was ranked higher than average and various fashion color was preferred in meeting with friends and acquaintances. It can interpret that career women consider external meeting and presentation as the most conservative situation, however, meeting with friends and acquaintances as the most comfortable and relaxed situation. More specifically, the differences according to situations were shown differently in terms of location aspects such as inside office or outside office, gender aspects of people who they meet, and closeness aspect of people who they meet rather than the criteria such as public, private and complex situations. This study has a significance in providing practical information to utilize in fashion industry by identifying the relationship among seeking self-image according to daily situation, preferred fashion style, and preferred fashion color for 25 to 34 years old career women, and by suggesting the results as positioning map.

지속가능 패션마케팅 활동이 자기-브랜드 연결과 애착, 자원투자 의도에 미치는 영향

이하영 경희대학교 대학원 2022 국내박사

As the fashion clothing waste problem is having a serious impact on environmental pollution recently, the social demand for sustainability in fashion industry increases; as a result, sustainable fashion marketing activities are practiced by fashion brandsas one of the solutions. The purposes of this research were to through this study, by providing basic data on sustainable fashion marketing activities, and by suggesting effective ways to help self-brand connection, brand attachment, and resource investment intentions. Data was collected in two stages. In the first stage, the reliability and validity of variables were verified through 60 respondents, and the questionnaire was revised and improved accordingly. In the second data collection conducted in February 2022, questionnaires were distributed to 800 people, 750 copies were collected, and 728 copies except 22 with insincere responses were used for data analysis. Frequency analysis, descriptive field analysis, exploratory factor analysis, and reliability analysis were performed for data analyses using SPSS 23.0. Confirmatory factor analysis and structural equation model analysis were carried out using the AMOS 26.0 statistical program. The results of this study are summarized as follows. First, four sustainable fashion marketing activities factors were extracted: economic activity, environmental activity, cultural activity, and social activity. For the intention of investing resourses, three factors were wxtracted; financial resource investment, social resource investment, and time resource investment. Second, sustainable fashion marketing activities exerted significant influences on self-brand connection showed that environmental, cultural and social activities affected self-brand connection. However, economic activities did not affect self-brand connection. The self-brand connection showed a positive (+) effect on brand attachment. The brand attachment also posotive influences on financial resource investment, social resource investment, and time resource investment. Third, the self-brand connection had a mediating effect between environmental, cultural, social and brand attachment. Moreover, there was no mediating effect of self-brand connection between economic activity and brand attachment, and brand attachment had a mediating effect between self-brand connection and resource investment intention. 지속가능성은 모든 산업에서 중요시되는 개념으로 환경, 경제, 사회에 미치는 영향뿐만 아니라 문화적 영역으로도 중요하게 여겨지고 있다. 다수의 의류생산 기업들이 저임금, 아동 노동, 노동자들의 건강과 안전 위험 등 노동 환경 문제와도 밀접하게 관련되어 있고 의류의 생산 및 폐기가 가져오는 환경오염, 노동자 인권 문제 등 논란이 가속화되면서 패션산업의 지속가능성에 대한 요구가 높아지고 있는 것 중 하나가 지속가능 패션마케팅 활동이다. 지속가능 패션마케팅 활동은 마케팅의 각 영역에서 지속가능한 활동을 찾아 실행하는 것이다. 마케팅 활동이 지속적으로 진행되기 위해서는 소비자로부터의 긍정적인 반응과 그에 따른 행동이 따라야할 것이다 그러나 지속가능 패션마케팅 활동에 대한 소비자의 반응에 대한 연구는 아직 미비한 실정이다. 따라서 본 연구에서는 지속가능한 패션마케팅 활동(경제적 활동, 환경적 활동, 문화적 활동, 사회적 활동)이 자기-브랜드 연결과 브랜드 애착을 통해 어떻게 자원투자 의도(재정적 자원투자, 사회적 자원투자, 시간적 자원투자)에 영향을 미치는지를 실증 자료를 통해 분석하고자 하였다. 실증적 자료를 통한 연구모형의 체계적 검증을 위해 두 차례에 걸친 자료 수집을 진행하였다. 첫 단계 자료 수집에서는 60명의 응답자를 통해 연구 변인의 신뢰도와 타당성을 검증하였으며, 이를 바탕으로 설문지를 수정 보완하였다. 2022년 2월에 실시한 두 번째 본 자료 수집에서는 800명에게 설문지를 배부하고 750부를 회수하였으며 이 중 불성실한 답변 22부를 제외한 728부가 실증분석에 활용되었다. 자료 분석을 위해 SPSS 23.0을 이용하여 빈도분석, 기술통계, 탐색적 요인분석, 신뢰도 분석을 실시하였으며, AMOS 26.0 통계 프로그램을 이용하여, 확인적 요인분석, 구조방정식 모형 분석을 실시하였다. 본 연구의 결과를 요약하면 다음과 같다. 첫째, 지속가능한 패션마케팅 활동은 경제적 활동, 환경적 활동, 문화적 활동, 사회적 활동의 네 가지 요인으로 구성되었다. 자원투자 의도는 재정적 자원투자, 사회적 자원투자, 시간적 자원투자의 세 가지 요인이 도출되었다. 둘째, 지속가능한 패션마케팅 활동이 자기-브랜드 연결에 미치는 영향을 알아본 결과, 환경적 활동, 문화적 활동, 사회적 활동이 자기-브랜드 연결에 영향을 미쳤으며 경제적 활동은 자기-브랜드 연결에 영향을 미치지 않는 것으로 나타났다. 자기-브랜드 연결이 브랜드 애착의 영향을 알아본 결과, 자기-브랜드 연결이 브랜드 애착에 정(+)의 영향을 미치는 것으로 나타났다. 또한 브랜드 애착이 자원투자 의도에 미치는 영향을 알아본 결과, 브랜드 애착이 재정적 자원투자, 사회적 자원투자, 시간적 자원투자에 영향을 미치는 것으로 나타났다. 셋째, 지속가능한 패션마케팅 활동과 브랜드 애착 간에 자기-브랜드 연결의 매개효과 검증결과 환경적 활동, 문화적 활동, 사회적 활동과 브랜드 애착 간에 자기-브랜드 연결은 매개효과가 있는 것으로 나타났으며 경제적 활동과 브랜드 애착 간에 자기-브랜드 연결은 매개효과가 없는 것으로 나타났고, 자기-브랜드 연결과 자원투자 의도 간에 브랜드 애착의 매개효과가 있는 것으로 나타났다. 넷째, 본 구조모형에서 환경적 지속가능성 의식과 사회적 지속가능성 의식은 부분 조절효과가 있는 것으로 나타났다. 환경적 지속가능성의 조절효과는 ‘경제적 활동 → 자기-브랜드 연결’, ‘자기-브랜드 연결 → 브랜드 애착’의 경로에서 나타났으며, 사회적 지속가능성 의식에 따른 조절효과는 ‘경제적 활동 → 자기-브랜드 연결’, ‘문화적 활동 → 자기-브랜드 연결’, ‘브랜드 애착 → 사회적 자원투자’의 경로에서 나타났다. 본 연구 결과는 지속가능 패션에 대한 관심이 증가하는 중요한 시점에서, 본 연구는 아직 충분히 연구가 이루어지지 않은 지속가능 패션마케팅 활동의 하위요인을 추출하고 자기-브랜드 연결과 브랜드 애착, 자원투자 의도에 미치는 영향을 규명하였다는 점에서 학술적 의의를 지닌다. 브랜드와 기업은 소비자가 믿을 수 있고 진실함이 느껴지는 제품 생산과 마케팅 활동에 노력을 기울여야 하며 환경까지 생각한 제품 생산을 하기 위한 기업의 다각도의 노력이 필요할 것이다.

ROMANTIC SYMPATHY : SYMPATHY AND SELF-FASHIONING IN WORDSWORTH, DE QUINCEY, AND KEATS

육은정 The University of Iowa 2003 해외박사

My dissertation scrutinizes through the lens of eighteenth-century notion of sympathy, especially that elucidated by Adam Smith, the ways in which three Romantic writers, William Wordsworth, Thomas De Quincey, and John Keats, negotiate their writerly selves. In his search for the underpinning of social regulation, Smith developed a formulation of sympathy that configured around the act of spectating, complicated by the performance of imaginative identification. The spectator was certainly the master trope of moral sense philosophy, to which school Smith was an heir, but Smith gave this figure a distinctive spin by making it a sympathetic spectator perennially interested (rather than disinterested, as in his predecessors, Shaftesbury and Hutcheson) in the situations of other people in his purview, trying to identify with them through the exercise of sympathetic imagination. Smith’s conceptualization of sympathy as an identificatory process entails a highly theatricalized sense of identity, as both the spectator and the actor under his gaze identify themselves with each other—and with themselves through the eyes of the other. This theatrical rendering of sympathy, along with the shifting positionality of the spectator and the actor, offered a fertile ground for the Romantic writers to work through their authorial anxiety toward self-fashioning. Wordsworth, once an actor on the historical stage of the French Revolution, learned to fear the power of the spectacle that engulfed him into identification with it; this experience in turn created in him the fear of identification with a similarly sublime power of his own poetic imagination, a process he termed in several occasions as ‘sympathy with power.’ De Quincey, a self-appointed protégé of Wordsworth, translated Wordsworth’s ‘sympathy with power’ into guilt-free and labor-free ‘power through sympathy,’ an appropriation of the violent yet sublime energy of the actors of criminal deed through sympathetic identification, thus forging a self-image of a sympathetic but invulnerable spectator empowered by the borrowed energy. I read Keats’s famous ‘negative capability’ as a variant of Smithian sympathy, and also an act of self-fashioning in the guise of self-abnegation, fashioned after the contemporary image of Shakespeare as the ‘chameleon poet’ par excellence

Examining Apparel Design Students' Self- Efficacy and Willingness Towards Using Virtual Reality in the Design Process

Binhajib, Aseel Iowa State University ProQuest Dissertations & The 2022 해외박사(DDOD)

Virtual reality (VR) is an emerging technology in garment design that has demonstrated promising results in student achievement (Wyss et al., 2014). Studies that have investigated the value of VR have shown that it positively affects student creativity (Yang et al., 2018), student engagement levels (Kennedy, 2019), and learning motivation (Wyss et al., 2014). Although these positive outcomes are acknowledged, little attention has been given to understanding students’ self-efficacy and willingness to adopt VR in garment design. For example, understanding both self-efficacy and willingness to adopt VR are related to students’ learning motivations (Dinther et al., 2011; Wyss et al., 2014). Furthermore, developing educational plans based on students’ confidence is related to their willingness to adopt a technology (Svenningsson et al., 2021). Therefore, the purpose of this study was to examine both students’ willingness to adopt VR during the design process and their self-efficacy level when adopting VR as a sketching tool in the design process. A multiple case studies design was used to analyze the views and interactions of eight undergraduate Apparel Design participants who explored the use of VR during the idea-generation stage of the apparel design process. Student selection was linked to an Apparel Design course in which students engage in the apparel design process and had acquired several skills in fashion sketches and technology software. This ensured that all potential participants possessed a similar skill range. Measures of individual students’ “willingness to adopt VR” data were collected using a scale based on the UTAUT framework. In addition, several open-ended questions were included to determine the type of facilitating conditions students preferred when using VR. The variables for “willingness to adopt VR” were: 1) performance expectancy, 2) effort expectancy, 3) perceived enjoyment, 4) facilitating conditions, and 5) social influence. The data for examining self-efficacy were derived by means of a self-efficacy scale and open-ended questions. The data helped determine self-efficacy levels when using VR and the factors that impacted those levels. The variables for self-efficacy were: 1) previous experience, 2) psychological responses, 3) social modeling, and 4) performance accomplishment. The investigation compared research propositions with the findings by employing a pattern matching analysis technique. Findings show that the eight Apparel Design students evaluated their self-efficacy level as medium or high. Factors impacting self-efficacy levels were similar for both self-efficacy levels, and they supported findings reported in the literature. Student “willingness to adopt VR” did not show a specific pattern in VR performance expectancy and effort expectancy. However, based on student scores there might be a descriptive pattern between the variables for perceived enjoyment, social influence and facilitating conditions, yet not statistically significant given the small sample size. Types of facilitating conditions favorable for VR use were listed to provide educators with factors to consider when adopting VR in the design process. The findings were reported in two manuscripts: one that covered self-efficacy, and one in another that covered students’ willingness to adopt VR.

Desired Bodies, Imagining Selves: Ideological Regimes and Creative Praxis in Black Trans Life Writing

Ridley, LaVelle University of Michigan ProQuest Dissertations & Th 2023 해외박사(DDOD)

This dissertation examines contemporary black transgender women's life writing in the U.S. and uses an interdisciplinary black feminist approach to transgender studies to argue that imagination is a key facet of political resistance and social transformation for these writers. By analyzing the autobiographical acts and embodied and narrative modes of self-fashioning employed by Toni Newman, Janet Mock, CeCe McDonald, and Venus Di'Khadijah Selenite, I explore their subjectivity and self-making through a matrix of narrative and embodied self-fashioning practices I call critical trans* imagination. Through understanding these writers as philosophers who construct radical black trans counternarratives and counterknowledges, this project challenges the hegemonic whiteness inherent to discussions of transgender subjectivity and the transgender memoir genre. In doing so, I illuminate the ideological narrative acts that black trans women writers rely on to sharpen their own sociopolitical consciousness and craft liberatory spaces for all black women. By examining a wide and necessary range of autobiographical acts and texts, such as traditional memoir, prison letters, and digital blogs, my dissertation generates a collage of black trans life in response to the ongoing erasure of trans women of color from dominant discourses.This project interrogates the discursive history of black trans women through an expansive approach to life writing. This study draws connections between the lived experiences of black transgender women and their strategies for imaginatively narrating those experiences through autobiographical writing, providing the basis for a dialogue about the featured writers' foundational contributions to black feminist and transgender studies. Thus, the second-person narrative voice throughout the dissertation emerges from the dialogic relationship between the black trans women engaged here-from scholars to authors to my own critical voice. I contend that embodied and narrative self-fashioning practices, combined with political consciousness-raising, is a critical form of radical creative praxis for audiences invested in black and trans liberation. Ultimately, this project advances blacktransfeminist thought in transgender studies and cultural studies through investigation of the black trans femme figure in the U.S.

거울자아이론에 근거한 패션 인플루언서의 포스팅 연구

박혜인 서울대학교 대학원 2020 국내석사

The purpose of this study is to examine the posting activities of fashion influencers that are actively posting on Instagram. Instagram is based on sharing enticing images, fashion influencers can notice reaction from followers of their images through 'likes' or ‘comments’. Therefore, this study attempted to uncover the behaviors or psychological experiences of fashion influencers, that have changed since the evaluation of others based on the three stages of Looking-glass self theory. The research questions are as follows. First, to analyze the fashion posting activities. Second, to research the behavioral changes and psychological experiences of fashion influencers according to the posting activities. Third, to interpret the fashion influencers’ posting activities based on the theory. This study combines literature and qualitative studies. First, as a literature study, the concept and characteristics of Instagram and fashion influencer were examined, and studied Looking-glass self theory. Next, an in-depth interview method was used as a qualitative study. Participants were in-depth interviews with 15 fashion influencers who had followers of 1,000 to 1 million. Based on this, examining how the reaction of others can affect the fashion influencers’ posting activities, behaviors, and psychology experiences. First, the pre-posting activities of the fashion influencers refers to the activities before obtaining responses of followers. The pre-posting activities shown as photo shooting and selection, fashion product purchase and styling, fashion feed management, and appearance management. Fashion influencers imagined the followers' evaluations before posting their pictures and do pre-posting activities to induce positive responses. Second, analyzed changed behaviors of fashion influencers according to the response of the followers after posting. When they got positive reactions, fashion influencers recognized that the posted fashion style should be suited them well, and expanded their fashion styles. On the other hand, if the reaction of the followers were negative, it was found that the type of fashion style that was previously posted was avoidedm. Also, even though they wore fashion product, they did not post that kind of fashion product. In addition, in order to induce negative reactions into positive reactions, it was shown that a new fashion style was presented in the fashion styling for fashion posting afterwards. Third, psychological experiences according to reactions were analyzed after posting. There are two positive psychological aspects, and fashion influencers have increased confidence and self-esteem for their fashion styles being recognized by others. In addition, they were satisfied with gaining a fame or profits. On the other hand, as a negative psychology, they felt a sense of rejection and dissatisfaction with their fashion styles and images, which were constructed by the reaction of others. They also felt exhausted about their acting in order to trying continuously satisfy the ideal image of their followers' expectations, and soon ceased their posting activities to reveal exhaustion. Based on the results, looking into the differences in behavioral changes according to the reaction by each type of fashion influencer, and found that the more fashion influencers with more followers, the lower the degree of behavioral change in response. Based on this, it was found that Instagram is a space where fashion influencers percept themselves with the eyes of others. Although it is a common belief that these are people who have their own personality in fashion, in fact, fashion influencers do not set and establish their own fashion based on individual personality or subjective judgment. They established their fashion concepts from ‘lkes’ or ‘comments’. In addition, it is meaningful that it suggested the direction that an individual who communicates in fashion should have in establishing his or her fashion identity by looking at the effects of social relationships on social media through an individual's self, behavior, and psychology. 본 연구는 인스타그램에서 패션으로 영향력을 가지는 패션 인플루언서의 포스팅 활동에 대해 살펴보고자 하였다. 이미지 공유를 기반으로 한 인스타그램에서 패션 인플루언서는 ‘좋아요’와 댓글 기능 등을 통해 이미지에 대한 타인의 즉각적인 반응을 알 수 있다. 따라서 본 연구는 패션 인플루언서의 패션 포스팅 활동을 거울자아이론의 3단계에 입각하여 분석함으로써 타인의 평가와 그로부터 변화된 행위나 심리적 경험을 밝히고자 하였다. 이에 연구문제는 다음과 같다. 첫째, 패션 포스팅 활동을 분석한다. 둘째, 포스팅 활동에 따른 패션 인플루언서의 행위 변화 및 심리적 경험을 밝힌다. 셋째, 거울자아이론을 바탕으로 패션 인플루언서의 포스팅 활동을 해석한다. 본 연구는 문헌 연구와 질적 연구를 병행하였다. 먼저, 문헌 연구로는 인스타그램과 패션 인플루언서에 대한 개념 및 특성을 살펴보고 거울자아이론에 대해 고찰하였다. 질적 연구로는 심층 면접법을 활용하였으며, 참여 대상자로는 1,000명 이상 100만명 이하의 팔로워를 보유한 국내 남녀 패션 인플루언서 15명을 심층 면담하였다. 이를 바탕으로 인스타그램을 통한 타인의 반응이 패션 인플루언서의 포스팅 활동과 행위 및 심리에 어떻게 영향을 미칠 수 있는지 살펴보았으며, 결과는 다음과 같다. 첫째, 패션 인플루언서의 포스팅 사전 활동은 ‘포스팅 하기 이전이자 반응을 얻기 전 활동’을 말하며, 사진 촬영 및 선정, 패션 제품 구매 및 스타일링, 패션 피드 관리, 그리고 외모 및 신체 관리가 포함되었다. 패션 인플루언서는 포스팅 하기 이전에 팔로워들의 평가에 대해 상상하고 긍정적 반응 유도를 위해 앞서 언급한 활동들을 하는 것으로 나타났다. 둘째, 포스팅 이후 팔로워의 반응에 따른 행위의 변화를 분석하였다. 패션 인플루언서는 팔로워의 반응이 긍정적일 경우 포스팅한 패션 스타일이 자신에게 어울리는 스타일인 것을 인지하고 패션 스타일을 구축하거나 확장하였다. 반면, 반응이 부정적일 경우 포스팅한 패션 스타일 유형은 기피하거나 해당 패션 제품을 평소에 착용하되, 사진 촬영은 하지 않는 것으로 나타났다. 또한, 부정적 반응을 긍정적인 반응으로 유도하고자 이후 패션 포스팅을 위한 패션 스타일링에 있어 이전과 다른 새로운 패션 스타일을 제시하는 것으로 나타났다. 셋째, 포스팅 이후 반응에 따른 심리적 경험에 대해 분석하였다. 긍정적 심리로는 두 가지로, 패션 인플루언서는 다수에게 자신의 패션 스타일이 인정받은 것에 대해 자신감과 자존감이 향상되었다. 또한 유명세를 얻고 실질적 수익을 얻는 것에 대한 만족감을 가졌다. 반면, 부정적 심리로는 타인의 반응에 의해 구축된 자신의 패션 스타일과 이미지에 대한 거부감과 괴리감을 느끼고 있었다. 또한 팔로워가 기대하는 자신에 대한 이상적 이미지를 지속적으로 충족시키고자 행동하는 자신의 모습에 대해 허무감을 느끼고 이내 활동을 중단하기도 하여 탈진을 드러냈다. 마지막으로 패션 인플루언서 유형별로 반응에 따른 행위 변화의 차이를 살펴보고, 팔로워를 많이 보유한 패션 인플루언서일수록 반응에 대한 행위 변화의 정도가 낮아짐을 알 수 있었다. 이를 바탕으로 인스타그램은 패션 인플루언서가 타인의 시선으로 자신을 바라보는 공간임을 알 수 있었다. 이들은 패션에 있어 자신만의 개성이 있는 사람들이라는 것이 일반적인 통념임에도, 사실상 패션 인플루언서는 개인의 개성 또는 주관적 판단에 의해 스스로의 패션을 설정 및 정립하는 것이 아니라, 타인의 평가 즉, 수치상으로 표현되는 일부의 평가를 통해서 패션을 변화시킨다는 것을 확인하였다. 또한 소셜 미디어를 통한 사회적 관계가 개인의 자아와 행위, 그리고 심리에 미치는 영향에 대해 살펴봄으로써, 패션으로 소통하는 개인이 자신의 패션 정체성을 구축함에 있어 가져야할 방향성을 제시하였다는데 그 의의가 있다.