• Fashion Information and Technology
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• v.10
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• pp.10-17
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• 2013

• Journal of the Korean Society of Costume
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• v.60 no.4
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• pp.1-17
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• 2010

There had been studied for a function of fashion illustration that has various capability of differentiation among fashion products since year 2000. A fashion products adopted the illustration is stand out not only to increase the goods profits by consumers who is willing to purchase the products with specified identity but also to execute differentiation strategy in a market. The aim of this study is the theoretical approach of fashion illustration and examined the development process of the products based on the supporting documents of cooperations, other records and actual application cases. Also, expression techniques of fashion illustration, image features and etc. are mainly studied and following representative results are projected through the data. First, the success of fashion commercialization using fashion illustration should have mutual organic function which requires three factors such as product project, marketing, the role of illustration. Second, An illustration of hand drawing expression technique is more helpful in differentiation of fashion product than using computer graphic, embroidery, collage technique and the fashion products vividly expressed with sensuous illustration tend to have higher preference. Third, the possibility of success the fashion products is often affected by the distinct identification and the precise positioning while the illustration is used.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.2
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• pp.280-291
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• 2004

Apparel goods are classified by many criteria for ease of merchandising implementation. Fashion and basic goods are also an oucome oi classification. Previous studies pnvide some criteria by which apparel products can be classified into fushion and basic goods. Among those ciiteria, seasonality, fashionability, clothing types, complexity in pnduction, simplicity of style, pioducuon volume, degree of style change by season, could be listed. This study, first explored how apparel merchandisers and designers define fashion and basic goods in relation with those criteria. Definitions of fashion and basic goods were explored in terms of design elements (i.e., style, color, material), production volume, sales ratio, proportion in product assortment, and contribution to profit. The study adopted a qualitative approach by use of eighteen infepth interviews with menhandisers and designers. Six were from women＇s wear brand, Seven from men＇s wear brand, and 5 from casual wear brand. All the interviewees agreed that they are using the classification of basic vs. fashion goods. However, they are using diverse terms to indicate the basic and fashion goods. The interviewees defined each group based on its contribution to total sales or profit complexity in design, production volume, and style change by season. Basic goods had a higher level of production quantity, contribute more to profit simpler design, and less style change by season than fashion goods.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.1
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• pp.47-57
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• 2019

The purpose of the study was to explore effective satisfaction factors for continuous partnerships between fashion companies and artists. A questionnaire was developed by the researchers and results were collected from a total of 273 people who were working for a fashion company or working as an artist. Data was analyzed by the use of a frequency test, a reliability test, an exploratory factor analysis and a structure equation model analysis using AMOS 18.0. The results of the study were as follow. First, profitability and adequacy had significant effects, but awareness had no effect on confidence concerning the partnership. Second, awareness and profitability showed significant effects, but adequacy showed no effect on the flow among those in the partnership. Third, confidence had a significant effect on flow. Fourth, among the partnership factors, confidence and flow had significant effects on partnership satisfaction. Fifth, flow showed a significant effect on the intent for a continuous partnership, but confidence showed no effect.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.7
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• pp.904-915
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• 2004

Following the PART I, which explored the concept of ＇Fashion Goods＇ and ＇Basic Goods＇ in terms of design elements and operational differences, this study, PART II, examined the differences in merchandising process of the two different types of goods. Merchandising process was divided into three stages; planning, production, and presentation. The study adopted a qualitative approach by use of eighteen in-depth interviews with merchandisers and designers with a minimum of six years and a maximum of 15 years of career experience in apparel industry. According to the type of goods, different merchandising practices were found. Especially material and production order/reorder practices were noteworthy. Fashion goods had high possibility of using high-quality materials sourced abroad and few of them were reordered. In other words, reorder practices were established for basic goods only; replenishment was actively implemented for higher inventory turn of basic goods; usually materials and production for basic goods were sourced domestically. In conclusion, based on the differences, more refined merchandising strategies of apparel companies and consistent theory building in this field are required for fashion and basic goods respectively.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.6
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• pp.869-879
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• 2009

The purpose of this study is to understand the Tecktonik culture and fashion, and to compare its features in Korea and France. Unlike prior studies which mainly dealt with subcultures in the U. S. and the U. K., this study paid attention to the condition of Korea. Tecktonik is a dance and music craze that originated in France in 2000, and spread worldwide via the Internet. The main features of Tecktonik fashion are slim fit, vivid colors, and high-top sneakers, which represent current fashion and culture trends, and express the feeling of Tecktonik music and dance. Compared to France, Korean Tecktonik fashion emphasizes sexual attraction of women with short skirt, while men are conservative about mohican hairstyle and dark make-up. In France, Tecktonik has become a sound social amusement, while in Korea it has been used for advertisements or entertainer's fashion style. The subcultural characteristics of Tecktonik were identified as playfulness, the active use of digital media, and high commercial value. In France where Tecktonik is for participating in a joyful dance, playfulness is prominent, and in Korea where Tecktonik acts as a visual entertainment, commercial value is outstanding. It has made differences in Tecktonik fashion of the two countries.

• Journal of the Korean Society of Floral Art and Design
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• no.44
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• pp.101-121
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• 2021

The flower, a symbol of beauty representing beauty, exists as an aesthetic object throughout the history of mankind, and is one of the motifs most often used in plastic art. In this way, flower art is an art that embodies a form based on the theme of flowers. The flowers played a role in expressing human happiness and love by harmonizing beautifully with each other in shape and color. The flower pattern containing this symbolism is beautiful and excellent in decoration, and is applied not only to household goods, but also to art and fashion. The flower pattern is the most preferred pattern among patterns, and it is widely used regardless of the four seasons by changing the color according to the color and flowering time, and it is effective in stimulating the symbolism and psychological sense of humans, so it is used in design in various fields. In this study, the flower pattern, which is a symbol of beauty representing beauty and the motif of art, has been traditionally used in Korea, and is still loved in fashion and art even in modern times. We hoped to be active, and through this study, we tried to develop our own unique flower pattern and lay the groundwork for it to be commercialized.

• 한국벤처창업학회:학술대회논문집
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• 2021.04a
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• pp.119-123
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• 2021

수많은 예술 관련 분야 대학 졸업생들과 예술가들은 많은 시간과 열정을 투자하여 예술 공부와 창작활동을 하지만 창작물을 통해 수익을 창출하는데 많은 어려움을 겪고 있다. 최근에는 이런 문제를 해결하기 위해 많은 예술 플랫폼 창업 기업들이 생기고 있으며 이 기업들은 수익 창출이 어려운 많은 예술가들에게 수익 창출의 기회를 제공하고 있다. 예술가들의 창작물인 그림, 글, 음악, 패션 등을 사업화하여 수익을 창출하는 예술 플랫폼 창업 기업은 그림 대여 및 판매 플랫폼, 예술가 창작물 상품화 플랫폼, 예술 크라우드 펀딩 플랫폼, 공연 전시 플랫폼 이렇게 4가지 분야로 분류해 볼 수 있다. 또한, 국내 창업 생태계의 발전과 함께 예술 플랫폼 창업 기업에 대한 관심이 더욱 증가하고 있지만 예술 플랫폼 형태 분석 및 사례 적용 연구는 미흡한 실정이다. 따라서 본 연구는 예술 플랫폼 창업 기업 형태를 분야별로 분석하여 예술 플랫폼 창업을 준비 중인 예비 창업자들에게 향후 예술 창업 전략 수립에 있어 시사점을 제고시하고자 한다.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.1114-1121
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• 2009

1990 년대 후반 이후 스마트 의류 연구는 기능성 및 인간 친화적인 측면으로의 접근 필요성이 증가됨에 따라 기능 및 사용자 중심의 연구로 진행되어 오고 있다. 이에 따라 최근 스마트 의류의 발달은 사용자 애플리케이션을 중심으로 세분화되어 개발되고 있다다변하는 의류 시장에서 스마트 의류 상품기획은 기존의 의류 상품기획과 같이 소비자 트렌드 중심의 경향과 함께 소비자의 특성을 파악하는 연구의 필요성이 대두되어 그 중요성은 날로 부상하고 있다. 그러나, 기존의 스마트 의류의 연구는 기능성, 사용성 기반의 연구자 중심의 개발이 이루어지고 있어, 소비자 중심, 마켓 중심의 연구가 미비한 실정이다. 따라서 본 연구에서는 스마트 의류 기획에 있어 가장 밀접한 관련이 예상되는 의복 및 의복행동 라이프 스타일과 디지털 라이프 스타일을 중심으로 라이프 스타일의 유형을 분석하고, 라이프 스타일에 따른 스마트 의류 수용도와 인지도를 조사하고자 하였다. 본 연구는 추후 스마트 의류의 수요가 가장 높을 것으로 예상되는 20 대, 30 대를 중심으로 이루어졌으며, 라이프 스타일에 따른 스마트 의류의 수용도와 인지 여부 및 스마트 의류의 선호도를 조사하여 그 결과를 제시하였다.그 결과 소비자 라이프스타일은 유행추구형, 감각적 정보추구형, 실용적 기능추구형의 세 유형으로 도출되었으며, 유행추구형 집단이 스마트 의류에 대한 인지도가 가장 높은 것으로 나타났다. 유행추구형은 엔터테인먼트 의류군을 선호하였으며, 스마트 의류 속성 중 외관을 다른 집단에 비해 중시하는 경향을 보였다. 감각적 정보추구형은 감성교감의류 및 생체 신호 측정의류의 선호도 및 필요성을 높게 인지하고 있었으며, 실용적 기능 추구형은 생체 신호 측정의류 및 환경과의 상호작용 하는 의류에 대해 선호하는 경향을 나타내며, 스마트 의류의 필요성을 다른 집단에 비해 높게 느끼고 있는 것으로 나타났다. 본 연구는 스마트 의류의 인식 및 선호도 등 상품화에 실질적인 평가 자료를 제시함으로써, 추후 스마트 의류의 상용화에 있어 시장 가능성 및 상품화를 위한 스마트 의류 기획 방향을 제시한 것에 의의가 있다.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.3
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• pp.135-149
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• 2014

Fur clothing as fashion items is expanding into casual & ladies's wear market as well as fur market. The interest of fur fashion is rising. So this study compares and analyzes the merchandising process of textile clothing also it of fur clothing by merchandising steps. Fur clothing has so many change factors at time of purchase by scarcity of raw material, price fluctuation, exchange rate and others. Therefore it is primarily about securing of raw material. As soon as plan of product is finished, the purchase of fur raw material has to be started while progress of design products for commercializing the fur clothing. The design of fur clothing is consist of material design, color design and shape design. And It makes a new trend & market as we are developing new & various treatments. The some of imported materials are transferred to the factory for being treated first dressing, fabric treatments and dyeing processing according to the design. The first treated materials are transferred to the sewing factory again for secondary treatments and finally inspected and shipped. During secondary treatments the fur has gone through various manufacturing process for using like fabric materials and it takes long time because almost work is running manually. Unlike fabric clothing, fur clothing's manufacturing method is complicated and various from material process to shape process as per feature. Therefore the merchandising with fur cannot make mass production also needs detail craftsmanship depending by expert's skills. On this wise the fur clothing takes long time to the completion thus it has been risky and costly.