• 한국복식학회:학술대회논문집
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• 한국복식학회 2004년도 The 21st International Costume Congress
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• pp.326-327
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• 2004

• 패션비즈니스
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• 제21권2호
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• pp.1-15
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• 2017

This study aims to identify the special features of high-concept funology observed in fashion products and expressional media by exploring funology in an era of high-concept, the emotional paradigm of the 21st century. High-concept funology in today's fashion can be explained as follows: First, 'virtual reality', which is often seen in fashion shows and fashion commercials, enhances consumer participation and involvement with blurred boundaries between the real world and the virtual world. With the expansion of various forms of real-time communication with consumers, positive images of the brand are being projected to the consumers. Second, 'form transformability', which is often found in fashion products, promotes customers' purchase desire as they are able to present themselves in a more versatile way in the fashion product that is changeable in various designs. Third, 'integration of different fields', which is easily found in various fashion goods, engages consumers in a mutual interaction under an entertaining setting with the product that is made to satisfy their needs attuned to their digital lifestyle. Fourth, 'interactive responsiveness', which is mainly recognized in fashion stores and commercials, is characterized by its interactive playfulness that encourages consumer participation through entertainment contents and promotes brand intimacy, eventually adding more value to its name.

• 패션비즈니스
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• 제26권5호
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• pp.76-90
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• 2022

The rapid growth and influence of digital technologies have had a profound effect on modern society. Companies and businesses can connect through SNS(social network service accounts). The importance of mass media empowers the creation of virtual images that are more realistic than time and space. Unlike traditional reproduction or imitation, the virtual images created in this way are reproduced in a form that lacks the original inspiration's essence. Jean Baudrillard described this phenomenon as the theory of simulation. Baudrillard argued that imitated simulated images replace reality. He stated that reality is lost under excessive images in modern society. In response, based on an understanding of the theory of hyper-reality that emerged through the late stages of the order of simulacre, this study aimed to analyze modern fashion's method of reproducing hyper-real images and investigate the method's characteristics. This study examined the characteristics of hyper-reality described by Baudrillard and analyzed the method of artistic expression of hyper-reality. Based on this method of expression, reproducibility, following the stages of image simulation, was derived. A specific case applied to fashion was analyzed, and based on the image reproduction method, specific characteristics of hyper-reality characteristics in fashion were obtained. Sixty-four collections were selected, out of which 155 images and 43 brands demonstrated the principles of image transformation.

• 한국산학기술학회:학술대회논문집
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• 한국산학기술학회 2009년도 춘계학술발표논문집
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• pp.550-553
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• 2009

본 연구에서는 천연염색 실크직물의 배색 시스템을 활용하여 배색 감성에 기반한 패션의류 제품을 개발하고자 하는 목적으로 천연염색 업계에서 즉시 활용 가능한 국내외 시판용 천연염재를 대상으로 균일화된 기계화 염색 공정을 통해 의류용 실크직물에 다양한 천연염색 색채를 발현한 후 대표 단색군을 선별하여 동일톤과 유사톤의 원리를 이용한 3배색 데이터 베이스를 구축하였다. 나아가 현대적이면서 한국적인 텍스타일 모티브를 개발하여 3배색 데이터를 적용한 배색 디자인을 제시하고, 이들 모티브와 배색 디자인이 적용된 패션 의류 아이템들을 제작하여 천연염색을 활용한 실크직물의 배색 감성을 적용한 현대적 하이-프리미엄 패션의류제품을 제안하였다.

• 복식문화연구
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• 제18권6호
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• pp.1261-1273
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• 2010

The advent of various arts and remarkable development of mass media since 1980s accelerate fashion photographs' advancement. The expression of fashion through photographs can represent characteristics of ages, societies, cultures, traits of designers and techniques of photographers. In addition, that is the tool which contains economical role as a product and artistic role as photos. Therefore, this study examines hyprt-reality images in editorial fashion photographs. Hyper-reality means the reproduction which represents the reality of life more actually. Hyper-reality through photographs elevates reality of virtual things and creates the confused situation which haunts the boundary between reality and reproduction. This study classifies the hyper-reality in editorial fashion photographs into three groups by their external traits, ideal reality, collapse of reality, and restoration of reality. First, ideal reality is represented as harmony among fashion, characters, and space, causality of fashion with time and circumstances, positive will, and melting with nature. Second, collapse of reality is expressed as in harmony between fashion and situation, violence, fetishism and symbol of death. Third, restoration of reality is shown as recurrence to nature and images of utopia to express dignity of life.

• 한국의류학회지
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• 제36권7호
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• pp.663-676
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• 2012

This article is to understand the implications and ideological meaning of female normative beauty reproduced by the idealizing phenomena of the hyper-real body as a process of the normalization of the body projected in fashion magazines with a focus on the body created by the increased influence of mass media in consumer capitalism. This study conducts a literature research and semiotic analysis as the method of investigation and focuses on the body images of the beauty articles in Vogue Korea. The idealizing phenomena of the hyper-real body in fashion magazines emphasizes that the body is an exchangeable substance that can be disassembled to adjust to accord with the standards and norms of society, that the ability of individuals to manage their body is enhanced by a rise in social class, and concludes that the superficial alteration of the body image is related to the standard of a moral tendency where a young and slender figure is considered to be a well managed body image.

• 디지털융복합연구
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• 제19권9호
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• pp.323-333
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• 2021

2016년 소셜미디어에 등장한 릴 미켈라는 오늘날 점차 주목받는 버추얼 인플루언서들 중 가장 알려진 존재이다. 특히 미켈라는 인스타그램을 통해 많은 패션 브랜드들과 실제적 협업을 이어가면서 사회에 큰 영향을 미치고 있다. 본 연구는 오늘날 버추얼 인플루언서들의 활약이 부각되고 있는 만큼 미켈라의 소셜미디어 사례 탐색을 통해 현대 패션이 지향하는 의미를 도출하고자 하는 목적을 갖는다. 이를 위하여 미켈라의 인스타그램 내 스틸컷 이미지, 비디오 이미지, 미켈라의 설명, 댓글 등을 연구대상으로 삼아 분석하였다. 이상의 분석을 시도한 결과 미켈라의 소셜미디어에 나타난 패션을 표현하는 방식 및 장치는 스토리텔링, 리얼리티, 태그와 하이퍼링크 등 세 가지로 구분이 가능하였다. 또한 경험의 대상, 테크놀로지의 지향, 시대정신의 구현 등의 세 가지 측면에서 패션이 갖는 의미를 도출할 수 있었다. 소셜미디어에서 등장한 이후 점차 더 영역을 확장해가고 있는 미켈라는 패션을 통해 정체성을 구축한 버추얼 패션 인플루언서이며 앞으로 패션에 보다 더 새로운 의미를 부여할 것으로 기대된다.

• 패션비즈니스
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• 제23권5호
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• pp.81-95
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• 2019

The purpose of this study is to research consumers' perception of the HiSeoul fashion show, which is being used by new designers as a means of promotion, and to propose a strategy for revitalizing new designer brands. This was done in order to secure basic data from fashion consumers, to help guide marketing strategies and promote rising designers. In this research, the consumers' perception of HiSeoul fashion show was verified using text-mining, data refinement and word clouding that was undertaken by TEXTOM3.0. Also, semantic network analysis, CONCOR analysis and visualization of the analysis results were performed using Ucinet 6.0 and NetDraw. "HiSeoul fashion show" was used as the keyword for text-mining and data was collected from March 1, 2018 to April 30, 2019. Using frequency analysis, TF-IDF, and N-gram, it was also shown that consumers are aware of places where shows are held, such as DDP and Igansumun. It was also revealed that consumers recognize rising designer brands, designer's names, the names of guests attending the show and the photo times. This study is meaningful in that it not only confirmed consumers' interest in new designer brands participating in the HiSeoul Fashion Show through big data but also confirmed that it is available as a marketing strategy to boost brand sales. This study suggests using HiSeoul show room to induce consumer sales, or inviting guests that match the brand image to promote them on SNS on the day the show is held for a marketing strategy.

• 복식
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• 제65권4호
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• pp.137-153
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• 2015

This paper aims at developing an analytic model for examining fashion designer's creativity. This research developed the analytic model of fashion designer's creativity adding the specificity of the fashion area to The Systems Model of Creativity by Csikszentmihalyi & Gardener. The analytic model of fashion designer's creativity is composed of 3 elements: the fashion designer, the fashion domain and the fashion field. The detail factors to be examined by each of the elements are as follows. In the dimension of an individual fashion designer, detail factors influencing the manifestation of creativity contain cognitive and non-cognitive abilities (i.e: personality traits, erotic capital) and socio-psychological factors (i.e: family condition, sexual identity, marital status, health). In the dimension of the fashion domain, creativity factors are composed of socio-cultural contexts and paradigms. In the dimension of the fashion field, detail factors refer to a mentor, supporter, competitor and a follower. Fashion designer's creativity manifests itself when detail factors of an individual fashion designer, fashion domain and field interact with each other dynamically.

• 패션비즈니스
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• 제5권1호
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• pp.87-96
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• 2001

The purpose of this investigation is to investigate exact information for Korean consumer's the wearing and purchasing behavior of the imported fashion brand. The subjects were 118 female and shopper came shopping in Kang-Nam gu, Seoul. The subjects is buyer purchase the direct import-fashion brand. A questionnaire was surveyed through direct interviews. Data was processed by a computer(SAS) and analyzed by using frequency, percentage, $x^2$-test. The results of this investigation are as follows: 1. The consumer were surveyed to be more satisfy for the interior goods than satisfy for the direct import-fashion brand in the good's quality, character expression, lasting quality, brand, design, comfort etc. 2. The possession number were surveyed to possess mostly 1 - 2 suits. 3. The consumer's view for the clothing-size were surveyed to be a difference between imported fashion brand. 4. The consumer's selection for the clothing-size were surveyed to put on clothes directly, especially more young women than old women.