• Journal of Korean Home Economics Education Association
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• v.36 no.2
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• pp.101-117
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• 2024

The aim of this study is to identify the competencies required for fashion-related majors that meet contemporary demands, align with the objectives of university education, and reflect the qualities desired in graduates. To achieve this goal, we conducted content analysis of relevant data and in-depth interviews with experts. First, the content analysis involved coding key information from the introductions, educational goals, desired qualities of graduates, and curricula published on the websites of both South Korea and international fashion-related universities. Additionally, we analyzed the National Competency Standards (NCS) and the Meta-goals of higher education programs set by the International Textile Apparel Association (ITAA), extracting six core competencies. Second, in-depth interviews were conducted with six experts, each with 23 to 31 years of experience in Korean and international apparel industry and academia. The interviews were recorded, transcribed, and keywords were extracted. To ensure the validity of the coding results, cross-checks were performed among the researchers. The analysis identified the following competencies: empathic communication, social responsibility, professional thinking, creative and integrative thinking, global perspective, and challenging leadership. Based on these findings, establishing competencies that meet contemporary demands and developing corresponding curricula are essential steps towards creating a feedback system. Future research should focus on developing and implementing curricula that foster a virtuous cycle, ultimately enhancing students' competency levels.

• The Journal of the Convergence on Culture Technology
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• v.10 no.5
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• pp.331-339
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• 2024

This study seeks to expand the jewelry market and overall development of the industry by understanding the fashion jewelry market and researching marketing strategies based on changes in market consumption. Looking at recent changes in the jewelry market, the number of new consumers (fashion jewelry buyers) has increased since 2014, leading to a recovery in purchases and strong sales. However, the decline in costs is prolonged, the focus on purchasing low-priced products is increasing, and there is a growing trend of purchasing products other than rings. Items are becoming more diverse, including bracelets and necklaces, and the popularity of imported products and brands is intensifying. Ultimately, the penetration of fashion jewelry and the growth of imported brands are expected to continue for a long time. The fashion jewelry market is a market that appears to have ample potential to grow into a larger market, filling the structural limitations of the jewelry market and providing consumer satisfaction in line with recent consumption trends. If so, We need to think about how to grow and develop this market, and We need to view it as a jewelry market in a broad sense, and it is a market that can serve as a bridgehead for the precious metal jewelry market to expand into the accessory market in the future. Therefore, it is necessary to create a jewelry market by utilizing the advantages of fashion jewelry, such as diversity of materials and expressions, price competitiveness, wide distribution channels and consumer accessibility, reflection of trends, and consumer awareness.

• Journal of the Korean Society of Costume
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• v.63 no.4
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• pp.17-29
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• 2013

The purpose of this study is to analyze the factors of action and reaction through the examples of luminescence digital fashion design, which is a part of the interactive digital paradigm in 21st century, and to classify types of interaction expressed in luminescence digital fashion design. The significance of this study is to provide an effective database for researches on new ideas and expression methods of fashion design using luminescence digital device. The contents are as follows. First, identifying the concepts of interaction, digital fashion, and luminescence digital device. Second, analyzing the factors that put the luminescence digital device into effect through materials such as the collected photos and the stimulus behind the materials. Third, analyzing and classifying types of reaction according to the types of stimulus in luminescence digital fashion design. Detailed use of luminescence digital devices in Fashion designs did not start until after 2000 so the scope of this study starts from 2000 and on. The methods of this study are as follows. The theoretical frameworks of digital fashion and interaction were setup by using information from various related books, papers, and internet sites. In addition, the empirical analysis was performed using collected photos and explanations through related Internet sites of digital fashion. Through the study, the interaction types in 21st century's luminescence digital fashion design can be expressed variously according to the current input type, biometric recognition type, environment recognition type.

• Journal of the Korean Society of Costume
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• v.65 no.4
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• pp.61-75
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• 2015

This research aims to analyze the prep-hop fashion, which is an original look created through the convergence of the hip-hop and preppy look, and identify the design characteristics of the prep-hop fashion. The style mixes the fashion of what was traditionally a lower-class look with the upper class. The design characteristics are as follows: First, the prep-hop fashion expresses slim, casual and sophisticated look with items and silhouettes. The items are categorized into jackets, shirts and pants. The prep-hop jackets provides a casual look to its wearer unlike the jackets of preppy or conservative looks. Slim suits show different meanings and features depending on the changes in the time and culture despite the continued use of the items. Second, the colors of the prep-hop fashion include overall basic colors used in the preppy look and hip-hop fashion. The aesthetic values of the colors express pleasant color images different from the conservative and resistant images expressed in the preppy and hip-hop style before the convergence, respectively. Third, the materials and patterns are expressed in a unique way to fulfill the emotional needs that are considered vital to contemporary fashion. The materials in the prep-hop fashion extend the ranges of usage by using the materials with unexpectedness broken out of general range of usage. While the use of the patterns is one of the methods to demonstrate that the prep-hop fashion is created by the convergence between hip-hop fashion and preppy look, the meaning concludes pleasantness and casualness different from the past. Fourth, the prep-hop fashion is mainly composed of hip-hop fashion accessories, which express the authenticity of the hip-hop fashion to protect the non-mainstream characteristics. The design characteristics of the prep-hop fashion pursue the individuality of the contemporary fashion, which lacks originality due to commercialization. The development of the prep-hop fashion, as a new form that combined contrasting genres and trends, is expected to develop more publicly.

• The Research Journal of the Costume Culture
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• v.30 no.6
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• pp.779-798
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• 2022

The purpose of this study was to propose the direction of veganism-based fashion design in environmental and animal protection through the theoretical consideration of vegan fashion and the analysis of the practical design characteristics of veganism in Stella McCartney's fashion. The research was conducted through literature research and case studies. After investigating the concept and characteristics of vegan fashion, focusing on previous studies and various fashion-related Internet data, Stella McCartney's fashion was examined with particular attention on vegan characteristics. The results of the study are as follows: First, imitative nature pursues animal and environmental protection, but the motif or appearance is a characteristic of pursuing a multi-purpose design that imitates animals and nature. Second, expression of value is based on slow fashion, simplicity, and sustainable minimal design. It is expressed indirectly by pursuing permanence, simplicity, and long-wearable design, or directly expressing vegan values through phrases expressed in performances or costumes in the collection. Third, alternative eco-friendliness is characterized by using cruelties-free materials such as faux fur, recycling materials, new bio-materials, and regenerated materials. These vegan characteristics are comprehensively and organically expressed in the works of the collection, and through this, sustainable and eco-friendly vegan fashion is pursued. It is anticipated that by deriving the vegan fashion characteristics of Stella McCartney, who represents vegan fashion, it will be possible to provide the basis for practical direction and design methods for fashion brands aiming for vegan fashion styles.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.1
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• pp.1-14
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• 2022

In the past 10 years, the luxury goods market growth has significantly outpaced other consumer goods categories. Its market value exceeded US $1.2 trillion globally in 2018. In response to this significant consumer demand, the product portfolio of luxury brands has been modified, as several products that previously were exclusive have now released lower-priced versions. This phenomenon is called new luxury. These new luxury products, however, have caused the democratization of the luxury that threatens the exclusivity of luxury brands. In this circumstance, luxury consumers are becoming disillusioned with the vulgarization of luxury goods and prefer exclusive luxury experiences. In order to keep pace with the changes in the luxury consumer needs and promote the brand image with a creative and luxurious connotation, luxury brands are increasingly associating with contemporary art through diverse channels. However, there is a lack of theoretical research investigating the main points to be considered when applying contemporary art to luxury brands and attempting effective brand communication. Therefore, this study aims to provide insights into the key issues for luxury brands when applying contemporary art for effective brand communication. An in-depth case study with the luxury fashion brand, Louis Vuitton, was carried out to better understand contemporary art applications and obtain analytical insights. Through the research, key insights were identified as follows: 1) setting a clear objective for art application based on an in-depth understanding for both the art and the luxury brand, 2) sending harmonized and coherent messages from all perspectives by using a variety of different communication channels, 3) providing a meaningful customer experience by considering the characteristics of contemporary art.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.3
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• pp.33-47
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• 2017

The purpose of this study is to provide fundamental data for the development of new course on 3D printing in the fashion design department. In order to investigate the perception of and educational needs in 3D printing, the data were collected from 266 students (female 68.8%, male 31.2%) majoring in fashion design aged 18-25 living in the capital area. The results of this survey showed that when investigating perceptions of 3D printing, it was found that 68.8% of answerers had indeed heard of 3D printing. Regarding the path they came to know about 3D printing, mass media such TV was the most frequent answer (54.6%). On the other hand, to the question asking about their intention to take the subject if given, approximately 71% said "Yes". Also, if a modeling class were given, the division that they wanted to explore most in the fashion industry was fashion jewelry. Finally, to the question asking interest in starting a business, 71.1% answered that they had interest. Out of those that answered that they had interest, when questioned about in which field they wanted to start a business, the most frequent answer was fashion online shopping mall. Finally, NCS-based 3D printing courses were suggested in the Fashion Design area. As 3D printing techniques are actively applied to the fashion industry overseas, creative education is needed through the integration of fashion and 3D printing technology by introducing 3D printing related programs in colleges.

• The Journal of the Convergence on Culture Technology
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• v.5 no.4
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• pp.23-27
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• 2019

Korea boasts outstanding cultural heritage accumulated over the 5 thousand-year-long history, but has neglected developing marketable commercial products out of its culture. As a result, despite the fact that Korea had successfully developed internationally well-acknowledged technologies, there isn't any exceptional cultural product that can be marketed globally. Therefore, it is necessary to re-design and commercialize a modern sense using unique materials in traditional culture. Fabrics made by natural dyeing have a low saturation, so they do not need special color harmony, they are natural and comfortable. Therefore, fabrics obtained by natural dyeing are considered to be a very suitable material for cultural product development. In addition, Hanji is a good material that can build a field of art by itself because it has a quality, a profound and elegant feeling. In this study, Hanji-fabric, which is made of excellent Hanji, is used for natural dyeing with. Using the dyed fabrics, the cultural products such as two parasols and a card holder was made and presented.

• The Research Journal of the Costume Culture
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• v.30 no.2
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• pp.262-280
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• 2022

The purpose of this study is to analyze the organic forms, expressions, and characteristics of Alexander McQueen's fashion design and to present various materials for understanding and utilizing this organic design style. The criteria for organic design expressions and characteristics were classified through a literature review, and the organic design characteristics of Alexander McQueen's fashion were then analyzed. The results are as follows: First, the morphological characteristics of nature's forms are used as objects in Alexander McQueen's fashions to represent organic characteristics. Second, abstraction through the application of organic forms means creating an abstract representation of the object being represented. Abstracting organic forms occurs by partially modifying the structural features of the human body to show characteristics or by visualizing these characteristics within the surface of the natural object. Third, continuity through the expression of the formation process of organisms is characteristic of the expression of the gradual growth of organisms; this reinterpretation is based on the concept that the internal elements of natural objects affect their external forms. Fourth, the structure of using natural materials, as well as regional and cultural characteristics, is shown in the designs through use of the physical characteristics of expressions and materials that use natural elements. Fifth, symbolism through subjective thinking implies that the element of nature that an object expresses is the element that appears in nature; this includes created organisms along with environmental factors. These characteristics are best demonstrated in fashion designs that express themselves through creativity.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.2
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• pp.27-44
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• 2022

The purpose of this study is to attempt to diversify artistic expression through combinations of the twelve zodiac animals and origami techniques and to propose new directions for fashion design by applying these to fashion accessory bag designs. For the research method, this study researched the representative forms and characteristics of twelve zodiac animals based on the cultural background. Also, diverse cases of origami techniques were sought to apply them to the development of bags. The results are as follows. First, expressed forms of the Chinese zodiac were newly expanded by realizing the form of Chinese zodiac animals through various origami techniques. Origami work displays abstract visual effects rather than intuitive feelings or expressions of flat designs. With this, detailed realizations could be made through the characteristics and cultural implications of animals. Second, the work created in this study utilized zero-waste patterns that use origami techniques on one whole piece. During pattern production, folded parts were marked without waste and the outer fabric and lining were produced. Patterns were all symmetrical lines so most forms were expressed with squares and equilateral triangles. Third, through actual work produced using fabric instead of paper, effects that are brought about through folding are determined in diverse ways according to fabric textures or material types and thicknesses. When paper is folded, shapes are created as folded, but fabric requires the use of supportive material to create the effects of origami. Polyester and blended fabric were easy to use with high levels of function and practicality. Through such diverse production attempts, fixing methods, hand sewing, sewing machines, double-sided tape, and leather adhesive were used.