• Fashion & Textile Research Journal
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• v.20 no.4
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• pp.369-378
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• 2018

This study started with the need for transition to competency-based education as well as the witness of fast changes in fashion industry's job environment. The goals of this study were (1) to explore fashion designers' competencies that are necessary for a successful careers in global fashion industry, and (2) to establish fashion designer competency model. In-depth individual interviews were conducted with 15 participants who have charged for design department and moreover have shown high performance in national, licence or designer brands in Korea fashion industry. Grounded theory was adopted to analyze data. As a result of analysis, the 4 core competencies emerged: problem-solving, research, inter-personal, and self-development. Each core competency has sub-competencies. Creativity, commerciality, control, decision making were sub-competencies for the problem-solving competency. Information management, innovation understanding & application, trend analysis & forecasting were sub-competencies for the research competency. Consumer, inside company, and outside company relationships were sub-competencies for the inter-personal competency. Self-awareness, self-management, expertise were sub-competencies for the self-development competency. In order to acquire these competencies, knowledge (academic, practical, multi-discipline), skills (sense, analysis, synthesis, communication), and attitude (interest, enjoyment, perseverance, personality) were essential. Based on these findings, implications for university fashion design education and further research areas were suggested.

• Journal of the Korea Society of Computer and Information
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• v.6 no.3
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• pp.143-151
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• 2001

Fashion Industry is one of the Knowledge Based Industry. The firms which produce the fashion merchandises should shirt to new paradigm of creating new image to delight customers. New image and design is derived from each designer's creative mind. However, self management team work of designers is more creative power than each independent designer's work. This study recommends that the Korean fashion firms implement self management team, concurrent product design and development and Just-in-Time Ⅱ based on sharing information and knowledge with the supplier to set competitive advantage. It can not only reduce cost and improve speed of management and the qualify of products but also satisfy and delight customers.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.1
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• pp.115-132
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• 2023

The globalization of Korean culture has spurred a steady increase in the participation of domestic fashion designers in global performance art. This study analyzes the formal elements of stage costume designs by fashion designers, and further evaluates the impact of these designers' aesthetic philosophies on overall performance. This analysis seeks to provide a foundation for the development of new directionality in performance art, with an enhanced competitiveness derived from diversity and creativity. The scope of this research spans 15 performances and eight fashion designers' works in the post-2010s era. These performances are characterized by their break from traditional artistic norms, illustrating the modernization of the performing arts and reflecting the designers' aesthetic philosophies. This modernization incorporates inspirations drawn from a diverse selection of movements, such as fusion, culture clash, kitsch, and minimal avant-garde. As a result, in combination with a pure reflection of the designers' aesthetics, these designs heighten overall performance, suggest a new direction for traditional performance art, tap into a popular sensibility to expand communication to a wider audience, and push the boundaries of tradition through artistic innovation.

• Journal of the Korean Society of Costume
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• v.63 no.8
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• pp.43-57
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• 2013

The purpose of this research is to systemize the fashion digital storytelling by analyzing the communication method and its elements, and extracting the characteristics and processes of digital storytelling. Based on the previous study on the characteristics and types of storytelling the following things have been researched: 1) the process of digital storytelling in the communication process, 2) the concept and the feature of the academia of digital storytelling 3) storytelling in the document research. On the groundwork of the document research, we were able to sort out the various types, and formed a system of the features in the fashion digital storytelling cases, mainly in the four collections (Milan, Paris, London, New York) from 2000's to recent years of 2010. The types of fashion digital storytelling are episode type, narrative type, and creative type. The characteristics of each of the types are as follows. Firstly, the episode type communicates through the digital media based on the information or fact of the fashion designer brand. Secondly, narrative type communicates with the consumers using previous literature or an existing idea of the original cultural form that is rearranged in digital story expressed by the digital media. Lastly, creative type makes the designer's and consumer's susceptibility and creativity communicate through the newly made story, which expresses the unique originality of the designer. It seems that the cases and studies of using the fashion digital storytelling will increase because of its short history and lack of the case study. Fashion designer brands will show their brand image using the digital storytelling because they are able to better express originality, creativity and imagination of the fashion designer, which were factors that could not be conveyed through fashion alone.

• The Research Journal of the Costume Culture
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• v.24 no.2
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• pp.132-149
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• 2016

With the increased importance of design creativity in global fashion marketplaces, there have arisen numerous promotional strategies for new fashion designers in Korea, yet little research has been done on this subject. This study examines the new fashion design promotion policies in Korea and their effects from the designer's perspective. First, we analyzed the contents of twenty-one strategies from thirteen organizations regarding the types of support from the strategies. As a result, four distinct types are identified: new designer recognition; information and consulting support; brand incubating; and marketing support. Next, we performed in-depth one-on-one interviews with eleven designers who had been awarded from one or more of the fashion design incubation policies. The results reveal that the incubating policies' cash rewards and space support are found to be most effective. In terms of the revised fashion and brand consulting policy, "brand operation" had an influence. In addition, fashion the new brand advertisement and marketing policy had positively influenced the "brand development." However, throughout the interview, designers note that the quality of education and information provisions need some improvement. Furthermore, the designers indicate the lack of supervision and professionalism from the marketing departments. Based on this content, this study emphasizes the necessity of an effective fashion design promotion policy, and strategic and consistent support for the whole fashion promotion team. At the minimum, an integrated and united supervision by the organization is necessary and should be taken into consideration.

• Journal of the Korean Society of Costume
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• v.58 no.8
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• pp.1-12
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• 2008

This study begins by establishing the theory that paintings serve as a visual documentation of a particular era and record the ideal fashions and customs about dress behavior through the costumes represented in them and examines the close relationship between fashion and art, focusing on the influence of art on fashion, as well as that of fashion on art, for both painters and fashion designers. To attain the goal of the study, the selected objects of study are written references and dresses represented in paintings produced in the 19th century. Painters who were the subject of documentation created or popularized new fashion styles before the concept of 'fashion designer' was introduced in history. In order to capture and represent the ideal beauty of certain period, painters understood the important role of fashion. Their work not only included the designing of costumes or accessories for the sitters, but also the spreading of new fashion styles by showing the sitters wearing them. Study of the mutual relationship between fashion and art grew more vigorous among many intellectuals in a variety of fields beginning in the 19th century. The standing of fashion was elevated and the concept of the 'fashion designer' was introduced and the interest in the themes of a specific style or the background of a trend increased during this time period. Many contemporary fashion designers created dresses inspired by the costumes represented in paintings. The result of this study which focuses on the relationships between fashion, artist, fashion designer and art is that connection between fashion and art is closely and firmly formed. For several hundred years, painters were the creators as well as promulgators of fashion and fashion designers, from the 19th century until today, have obtained their creative inspiration from art.

• Proceedings of the Costume Culture Conference
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• 2004.04a
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• pp.31-33
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• 2004

현대는 정보문화, 정보홍수와 같은 용어가 사용될 만큼 일상생활에 수많은 정보가 제공되고 있다. 오늘날 정보전달 즉, 커뮤니케이션의 문제는 대단히 중요시되고 있고 디자인 분야에서 이러한 정보 전달 기능의 디스플레이는 특별한 의미와 가치를 가지고 있다. 특히 패션 매장에 있어서, 디스플레이는 구매 욕구를 자극시키고, 같은 옷이라도 전혀 다르게 보이도록 할 수 있는 중요한 판매촉진 요소이며 여기에는 트랜드 이미지, 디자이너의 개성, 그리고 환상까지 끌어내는 전략이 필요하다. (중략)

• Proceedings of the Korean Information Science Society Conference
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• 2004.04a
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• pp.910-912
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• 2004

국내 의류ㆍ패션디자인 분야의 CAD 및 도식화 프로그램은 다양하게 존재하고 있으나, 본 연구에서는 데이터베이스 시스템을 접목한 피스 기반의 디자인 CAD와 도식화 시스템을 구현하였다. 본 시스템에서는 도식화 피스에 대하여 다양한 분류와 검색어를 제공해 디자이너가 사용하고자 하는 데이터를 빠르고 쉽게 찾아 활용할 수 있다 본 시스템은 사용하기 쉬운 사용자 인터페이스(GUI), 다양한 드로잉 도구 지원, 벡터형식 문서지원. XML 기반의 데이터 활용, 다양한 라이브러리 제공, 쉬운 Mapping 기능 등을 제공한다.

• Proceedings of the Korean Society of Computer Information Conference
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• 2020.07a
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• pp.623-624
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• 2020

끊임없이 발전하는 기술은 4차 산업혁명시대를 열게하는 중심이 되었으며 세상의 모든 것을 변화시켜가고 있다. 최근에는 혁신적이고 고도화된 IT 기술이 완전히 다른 분야와 유기적으로 융합하여 새로운 가치를 만들어 가고 있다. 특히 패션 분야에서는 이와 같은 선도적인 기술을 바탕으로 패션, 그 이상의 기능을 담당하는 '스마트패션'의 시대를 맞이하고 있다. 패션에서의 새로운 산업 분야로 자리매김하고 있는 스마트패션에 대한 사용자의 요구가 증대하고 새로운 제품을 출시하고자 하는 기업의 시도가 계속되고 있으나 학교 현장에서는 이에 대한 적절한 교육과정이 부재한 상태이다. 특히 IT 엔지니어와 패션 디자이너와의 협업의 경험이 전무할뿐만 아니라 제품을 설계하고 제작해 나가는 과정에 대한 개념이 서로 완전히 상이하여 융합의 시도가 단지 시도로 그치고 있는 실정이다. 이에 본 연구에서는 IT와 패션 전공 학생들이 함께 참여할 수 있는 융합 교과 과정을 설계함으로써 미래의 산업사회 요구에 선제적으로 대응하고자 한다. 이를 통해 상이한 전공을 가지고 있는 두 전공 학생들에게 타 전공에 대한 지식을 이해할 수 있는 기회를 제공하는 동시에 융합에 대한 경험을 충분히 제공함으로써 미래 시장으로의 선도 진입과 역할 수행의 적합성을 이루어 낼 수 있도록 한다.

• The Journal of the Korea Contents Association
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• v.12 no.2
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• pp.196-207
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• 2012

This paper aims to study the representation of basic design elements in patterns of fashion design by analyzing the examples and trends of how basic design elements have been represented in major collections of fashion designers, thereby contribute to enhancing the awareness of the importance of basic design elements in the field of fashion design education. In order to accomplish this goal, utilizing the fundamental concepts and principles of basic design elements, we have analyzed the examples and trends of representation of basic design elements, focusing on the design works of fashion designers from the 2000 collections to the 2010 collections that can be viewed to have been directly inspired by three basic design elements. The result of the analysis shows that there was a popular trend of emphasizing basic design elements as a design motif particularly from the 2000 s/s collections to the 2004 s/s collections. In these collections, we have found a wide range of design works that were inspired by the three basic design elements of dots, lines, and faces. Designers such as Jil Sander, Bill Blass, ..., etc. produced diverse designs that emphasized dots with various feeling of space, weight and texture. The collections by I.S.Suano Kuwahar, ..., etc. were based on the concept of coordinating the design element of lines with various textures. Vestium Officina, Loewe, ..., etc. produced the designs where faces were divided by lines in various ways and various forms of faces were decorated with diverse colors.