• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2001.05a
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• pp.286-292
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• 2001

본 연구의 목적은 컴퓨터 그래픽과 웹 애니매이션 프로그램을 이용하여 효과적인 패션 켜디 시스템을 개발하는데 있다. 오늘날 인터넷 패션 쇼핑몰은 마케팅의 한 수단으로서 커다란 주목을 받고 있다. 많은 옷들이 인터넷 쇼핑몰을 통하여 판매되고 있으며 더불어 매장의 디스플레이 역할을 담당하는 웹 사이트 디자인에 대한 관심도도 매우 높아지고 있다. 이러한 이유로 본 연구는 컴퓨터 그래픽 소프트웨어인 어도비사의 포토샵과 마크로 미디어사의 플래시 애니매이션을 이용하여 패션 코디 아이템을 제작하고 보다 시각적이고 효과적인 웹 이미지를 구축하려고 한다. 그 결과는 다음과 같다. 첫째, 매해 유행하는 의상의 데이터 베이스를 축적할 수 있으며 둘째, 디자인에 드는 많은 시간과 비용을 절감할 수 있고 또한 보다 쉽게 창작물의 변형과 제작이 가능하다. 셋째, 다양한 이미지 변형 기능으로 새로운 텍스타일의 개발이 용이하다. 넷째, 애니매이션과 동영상등의 멀티미디어 효과로 보다 시각적이고 흥미로운 이미지를 구축할 수 있다. 다섯째, 고객과의 보다 인터렉티브한 커뮤니케이션이 가능하다.

• The Research Journal of the Costume Culture
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• v.19 no.6
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• pp.1302-1319
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• 2011

The purpose of this study is to investigate the means by which designers communicate their philosophies and messages through fashion exhibitions, which are one of the communication methods that use visual images, by focusing on the aesthetics of fashion exhibition design. For this study, previous studies related to design exhibitions were analyzed, in addition to the related theoretical background, by examining the existing literature and conducting an illustrative study on fashion exhibitions. Our illustrative study focused on the aesthetic meanings of exhibitions held by the fashion brand Maison Martin Margiela over the past 10 years. According to our analyses, the fashion philosophy of fashion designer Martin Margiela's was reflected by Maison Martin Margiela in the exhibition design. After studying the features of Maison Martin Margiela's exhibition design, the inner values of deconstructivism and mysticism and appearance techniques of trompe-l'oeil, white spirit and assemblage were observed. This study aims to supply basic data for an active research on consilience and communication conducted in fashion communication field through a fashion exhibition designed to be seen as a work, an objet of the exhibition. In-depth studies on the cultural and aesthetical aspects of fashion exhibitions should be carried out, not only based on the sense of sight but also the senses of touch and hearing. Next, theories should be established on fashion scenography, to consider the use of the space design of fashion shows, presentations and advertising and movies to communicate fashion.

• The Research Journal of the Costume Culture
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• v.21 no.6
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• pp.793-809
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• 2013

This study examined the trend and aesthetic value of image fashion of the 21st century through empirical case study with image media as fashion communication tool. This research is intended to provide the basic material for both better comprehension of image fashion as emotional medium in the modern fashion and more activated research on interactivity and communication in the fashion communication area by examining how fashion designers deliver their design philosophy, thought and vision via image fashion. For the research method, the theoretical study was realized about image media and fashion communication with focus on related literature and precedent research. Also, the empirical study was performed about image fashion covering 2005 through 2012 by the group of fashion film, fashion animation, and video look-book. Fashion image in the research was developed into various layouts that include the story based or non-story based creative images, many kinds of episode or behind-the-scenes story in the prep course of collection, designer's personal life or product world, or re-cutting course after collection. It also played a communicative role for public relation of new product ad, concept conveyance of seasonal collections, means as online collection to substitute for the existing offline collections, and better understandings of designer or fashion brand. Aesthetic values derived from case analysis of image fashion in the modern fashion of 21st century appeared in the form of trans-boundary as convergence art, fantasy in harmony with virtuality and reality, and interactivity among the humans, image media and fashions.

• The Research Journal of the Costume Culture
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• v.18 no.6
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• pp.1318-1330
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• 2010

The 21st century is the age when a sensational image has more explanatory power and can deliver a more powerful message than a message consisting of logical thinking. Powerful visual images create a big impact on many people throughout the world, overcoming linguistic barriers and even replacing language as a means of communication. In the fashion field, the concept and power of visual images within the new multimedia of the 21st century are becoming increasingly important. In recent years, other than the above methods, videos, movies and animation features have been produced directly to enhance visual effects and attempts are increasing to use these new tools as communication methods. This study focuses on animation contents that have been used in the fashion industry to overcome prejudice of luxury international brands that feature images that emphasize value, quality and heritage. The purpose of this study is to focus on the specific character of fashion animation in order to overview the concept of 21st video fashion communication and to show how the collection concept that includes color and detail places an emphasis on visual images. Analysis of previous research, theoretical research through literature and case study on Prada fashion animation led to the following conclusion. The common features of two different Prada fashion animation show that both animation have the following features in common : realism, dramatic impact and convergence for expression methods, and creativeness, hybrid and a happy ending for contents. Beginning with this study, I believe that various angles of interest and concern about communication in the fashion world, which is a social and cultural phenomenon that changes rapidly, can be will be looked at and learned from.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.2
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• pp.315-329
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• 2016

The $21^{st}$ century is the age when the revolution of digital technology enables two-way communication and when emotional values are emphasized. Thus, it exerts influence on the fashion industry and fashion communication. Along with fashion shows, advertising and displays, many fashion brands have increased the use of fashion films. For that reason, this study examines the characteristics of fashion films made by fashion brands, based on the frame work of persuasion communication. For the research, literature reviews and internet website research were done and films of Chanel, Prada, Kenzo and Alexander Wang were analyzed. The definition and types of fashion films were redefined as terminology varied throughout previous studies prior to analyzing each case. As a result, a fashion film would be redefined as 'a digital image which a fashion brand publishes to consumers for the promotion of brand comprehension'. Also, five fashion film types, 'short film', 'campaign film', 'animation film', 'brand film' and 'show film' were redefined. The analysis provided three communication characteristics: reliability, engagement and intuition. First, reliability is attained when a fashion brand (sender) delivers brand message to consumers (receiver) consistently and unitedly. Second, engagement is attained when the type of fashion film (channel) delivers creative image features such as format, music, video technique to attract consumers' interest. Lastly, intuition is attained when a fashion brand (sender) delivers a message akin to brand identity and deepens consumers' understanding. In addition, this study tried to identify the unique usage tendency of brands that could serve as practice guidelines for other fashion brands.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.9
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• pp.966-978
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• 2012

Fashion exhibitions in museums and galleries is a form of fashion communication media. This thesis examines the messages, objects, and space of fashion exhibitions as fashion communication media as well as analyzes the method of fashion communication. This thesis first provides a theoretical study on fashion exhibition and conducts a case study of the 2012 Nora Noh Retro Exhibition La Vie en Rose (2012/5/23-6/2, Horim GNB Gallery, Seoul), dedicated to the first Korean female fashion designer. The message of the exhibition was the fashion philosophy and the fashion style of the designer as well as the intention of the curator. The objects presented were the dresses kept by the loyal customers of the brand, and the homage items by designers of present generation. The space designs of the exhibition were the layout and total coordination of the opening event. The methods of fashion communication for the fashion exhibition, in the case of the La Vie en Rose exhibition, were communicated (1) from the past to the present, (2) from designers to celebrities and (3) from the designer to the celebrity and the viewers. From the past to the present, the designer's style throughout the 60 years of her fashion career is conveyed to the present generation fashion people, in the form of homage designs and collaboration works. From designers to celebrities, her fashion philosophy was delivered in the form of movie and stage costumes. Some present generation celebrities tried reinterpretations of the garment. From the designer to the celebrity and the viewers of the exhibition, the intention of the curator and the designer were individualized and internalized by the viewers.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.4
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• pp.685-696
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• 2001

The purpose of this study was to establish the marketing strategy, that strengthens the brand royalty of their own in apparel industry and that can induce consumers brand switching against competitive brand. This study was classified into theoretical and experimental study. Experimental study was done, using the survey, to prove the models for consumers responses to brand switching by the theoretical study. It analyzed at last five hundred ninety-two women in the age of twenty to thirty years old who live in Seoul. Followings are the summary of the results revealed through the experimental study. First, brand switching behavior of consumers for formal dress was attributed to two extremes the inner motivation of variety seeking tendency and communication contact, complex variety seeking group, true variety seeking group, derived variety seeking group, and variety avoiding group. Second, the cognition response to marketing communication the types of brand switching shows difference in all communication variables except the service promotion of sales promotion communication. As to attitude response, it was found meaning difference in all communication variables except the sales promotion through price adjustment.

• Korean Journal of Human Ecology
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• v.23 no.2
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• pp.329-341
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• 2014

This study examined the effects of cultural communication on the fashion distribution type and the shopping benefit in fashion cultural complex space. Surveys period was from Sep. 17th to Sep. 21st in 2012. The Subjects of this study were the young 207 people who had shopping experiences in fashion cultural complex space in their 20s~30s. The data were analyzed by a reliability analysis(Cronbach's ${\alpha}$), factor analysis and regression analysis. The main results of this study were summarized as follows. First, cultural communication in fashion cultural complex space were impacted by cultural brand, cultural display, cultural support and beneficial effect of culture. Second, customers pursued the shopping benefits to get social value, personal pleasure, individual style and economic value. Third, the preference of fashion outlet was effected by cultural brand and cultural display. The beneficial effect of culture and cultural brand influenced on department store preference. The preference of fashion multi-brand shop was impacted by cultural brand, cultural support and beneficial effect of culture. Fourth, cultural communication in fashion cultural complex space had an effect on pursuing shopping benefits. Fifth, customer's demographic characteristics impacted on cultural brand, cultural display and beneficial effect of culture. Especially, these 3 cultural communications were effected by monthly average fashion spending than age/total income.

• The Research Journal of the Costume Culture
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• v.22 no.2
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• pp.258-272
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• 2014

This study aims at comprehending the characteristics of fashion communications through case study about an art marketing that Prada develops in the field of modern fashion and providing theoretical materials on creativity-based art marketing and communication spread as expression strategy for brand philosophy and personality. For its research method, theoretical study was reviewed about art marketing and Prada's fashion philosophy and then cases on Prada's art marketing were analyzed according to their types. Prada's types in their art marketing are classified into several groups: support of art foundation and artists, differentiation via flagship store, application of image fashion, exhibition project, and cooperative work with different realms. From the above marketing strategies, we can find the values in that the brand image imbedded in enterprises with culture and art was contributable to set up the brand identity, that they were much beneficial to continuous activation for fashion culture and art fields, and that fashion communications of artistic emotion based on challenge and innovation were proposed. This fashion communication in Prada via way of art marketing is not just expression of Prada's luxury fashion brand but willingness to make their unique style from different facades. This also suggests the orientation that modern fashion should look forward to in finding a new way through cooperative relationship with other fields.

• Journal of Fashion Business
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• v.10 no.2
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• pp.166-180
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• 2006

The purpose of this study is to analyze the fashion images and the aesthetic characteristics of hand work imaged design. The 'hand work' has not only affected the contemporary life style but also the current fashion trend. The primary source of data has been a collection of recent books, news repots, and many articles from various kinds of mass media and fashion magazines since the year 2000. The results of this study can be summarized as follow. First, hand work imaged fashion design can be divided the background into three parts : post-materialism, aesthetics of slowness, personalize trend. Second, hand work imaged fashion design can be identified with the following images : folklore & craft image, second hand image, high touch image. Third, the aesthetic characteristics of hand work image reflects the concepts of sustainability and process communication.