• 패션비즈니스
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• 제25권3호
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• pp.90-107
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• 2021

This study concludes that communication based on interaction between broadcasting hosts and consumers is differently characterized by fashion live commerce types. Subcategories of the types of fashion live commerce were created and used in the analyses of domestic consumer awareness. Three subcategories were created: The department store type, Designer brand type, and Influencer host type. Comments representing consumers' awareness that appear immediately during real-time broadcasting were collected and used for the analyses. The frequency and TF-IDF-based top keywords were selected to analyze the semantic network and CONCOR, and the top keywords were analyzed by deriving the values of degree of centrality. The analysis identified that a group of product attributes and a group of live commerce offered value were common between the three types. As for the group characteristics classified by type, for the department store types, brand attributes, benefits, and values from pursuing the products were identified. For designer brand types, a group of viewers' responses and inquiries were identified. It is interpreted that the satisfaction value gained from hosts with product expertise has been clustered. Influencer host types have affirmed a group of external product values. A close relationship is formed and it is thought to have led a group of values to trust the external image of the product. This study carries significance in analyzing real-time comment data from consumers using fashion live commerce to empirically reveal the characteristics of each type.

• 복식
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• 제20권
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• pp.151-167
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• 1993

The purpose of this study is to systematize the theory of the Fashion Marketing and merchandi-sing system as well as the strategy for the Mar-keting based on the related variable. Furthermore, this study deals with development of the mark-eting strategy to the relation between consumers and industry. The content conclusion on the research can be outlined as follows : 1. In order to inverstigate how the life-style of consumers affects their sense of fashion, awa-reness of brand, and decision making process of purchase, the life-style of women consumers is classified into 15 types. (1) Acording to the different life-style types, and important difference is found in the consum-ers' sense of clothes, a unique image of outfit and its own favorite image of womanliness. (2) The consumer's awareness of a particular brand has a reasonable relationship with their brand preference and possession of the brands. (3) Their is an important discrimination acco-rding to the life-style types in their brand awar-eness and preference and possesion of brands. (4) The consumers of each life-style type show noticeable difference in the decision making pro-cess of purchase including he motive of purchase, the source of information, the cause of purchase intention, price, the frequency of purchase and the degree of satisfaction of purchased goods. 2. The merchandising system and the market positioning among the fashion industry are compared and analyzed in the following terms ; (1-1) For the purpose of establishing the target market strategy, the industry uses unreasenalbe methods to analyze the life-style of the target customers and the real customers(36%) and the aging phenomenon of brands is remarkable : as much as 37% of brands show over 5 years-old age gap. (1-2) The price setting process depends highly on the cost-plus approach. (1-3) In color planning, too many colors are used in every season(the average number is 22.3) and the investigation of the consumers' favorite color is neglected. (1-4) The manufacturers of successful brands are much likely to employ the textile designer and allow them to develop the various fabrication. (1-5) The regular rate of sales in each season is extremely low(56.04%) : the rate of the succ-essful brands is relatively high at 65%, but that of the unsuccessful as low as 51%. (1-6) 47% of brands reveal the designer-orie-nted fashion merchandising system. The successful brands, on the other hand, show a high rate of merchandiser oriented system. (2) Since the brand positioning is highly cen-tered on each brand image, styles and target age, the new data are presented in this study for the new market development. (3) To set up the target market, the mapping of images between the differentiated market and the consumers is suggersted according to the market positioning of industry and 15 types of the life-styles of consumers.

• 디지털융복합연구
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• 제17권4호
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• pp.291-298
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• 2019

본 연구는 '청년 창의인력 취 창업지원사업' 분석을 통해 디자이너-메이커스 비즈니스 생태계 조성에 있어 정부 디자인 지원정책의 핵심 내용과 시사점을 고찰하고 있다. 메이커 기술에 기반한 디자인 브랜드 육성과 청년 주도형 지역 일자리 창출을 목적으로 하는 이 사례는 디자이너-메이커스가 보다 자유롭고 창의적인 분위기에서 창작활동이 가능하도록 창의문화 조성자로서 정부의 역할을 제시한다. 나아가 각 정부 부처에서 시행 중인 유사 메이커 지원정책들의 효율적인 통합 및 재편과 이를 실리적으로 추진할 로드맵의 필요성, 질적 내실화 지원의 중요성을 강조한다. 결과적으로, 디자이너-메이커스 비즈니스 활성화를 위한 정부의 디자인 지원정책은 신규 일자리를 창출하는 경제적 수치적 목표를 넘어 성숙한 공유문화를 토대로 한 지식재산의 질적 발전, 개방형 메이커 무브먼트에 기반 한 제조업의 신(新)생산 패러다임 모델 발굴이라는 진화된 지향점으로 발전해야 할 것이다.

• International Journal of Contents
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• 제15권2호
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• pp.53-58
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• 2019

The aim of this paper is to discuss how designers lead and direct 'technology-driven society' using their creative communication skill. To this end, it is required for communication designers to take conscious steps to recognize the future direction of their profession. Despite the advancement in technology, there is a human being at the center of all design activities. From a certain point of view, contemporary communication design takes an open-ended exploration of the subject matter, rather than a finished output. The notion of creative leadership may potentially expand more in terms of improving the methodology of today's visual culture. The paper will examine creative leadership that could be proposed by the challenge of discourse upon the upcoming industrial revolution. Today, communication designers are confronted by new leadership opportunities and challenges. Some leading designers seem to focus on brand new media technologies to prepare the 4th industrial revolutions. However, communication design cannot be discussed in the medium but can be understood as a process. Top-down and bottom-up process is always a concerned about the relationship since the focus of leadership has changed. In the top-down process, the leadership has existed between 'designer and client' because designers have played their role as a problem solver. On the other hand, there is a different model of leadership between 'design and technology' based on bottom-up process, which stem from the design authorship. In this regard, the new definition of creative leadership in the $4^{th}$ industrial revolution proposes a designer as a problem-finder based on the relationship between the 'designer and the public'.

• 복식문화연구
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• 제20권2호
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• pp.184-194
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• 2012

The purpose of this study is twofold: it suggests appropriate sizes in menswear slim-fit jackets according to brand zones and number of buttons, as well as jacket patternmaking methods according to jacket styles by surveying and comparing the overall present status of patternmaking and production for both men's slim-fit and classic-fit jackets. The researcher conducted interviews with patternmakers of sixteen brands with prepared questionnaires. Data were analyzed by descriptive statistics using SPSS 12.0. The results of this study are as follows: first, for the production ratios of jacket style, the jacket styles' respective proportions differ distinctly according to brand zone. Second, for a jacket with the same number of buttons according to brand zone, the size in character-casual brand zone (character casual can be defined as high quality brands producing designer style clothes) is slightly bigger than the men's formal suit. As the number of buttons increases, there are increases in the chest, waist and hip circumference; on the other hand, the front neck width and the distance from the shoulder neck point to the bottom of the lapel both decrease. Furthermore, the amount of wearing ease in the chest, waist, upper arm circumference, and sleeve curve is less in slim-fit jacket styles than in classic-fit jacket styles. Fusible interfacing alone is used in slim-fit jackets, while sew-in interfacing is used in combination with fusible interfacing in classic-fit jackets. This research concludes that when slim-fit men's jackets are manufactured, appropriate patternmaking and manufacturing methods should be considered.

• 디자인학연구
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• 제19권2호
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• pp.151-162
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• 2006

이 연구의 목적은 브랜드로고의 가치를 타당성 있는 평가방법을 통하여 객관화하고 이에 따라 브랜드로고의 역할과 브랜드이미지 기여도의 중요성을 부각시켜 궁극적으로 브랜드로고의 존재가치를 향상시키는데 있다. 브랜드 아이덴티티의 이미지를 형성하는 핵심요소라 할 수 있는 브랜드로고는 주관적인 요소로 간주되어 그 가치를 객관화할 수 없는 것으로 간주되어 왔다. 이러한 인식은 로고의 결정과정에서 전문적인 프로세스 없이 경영진의 주관적이고 순간적인 판단으로 이어져 브랜드이미지에 좋지 않은 영향을 주는 것은 물론 브랜드로고 자체의 가치를 하락시키는 결과를 가져오게 된다. 이러한 비전문가의 주관적 판단에 따른 잘못된 선택을 최소화하기 위해서 브랜드로고는 객관적으로 수치화 된 평가의 틀을 필요로 한다. 또한 브랜드로고는 현재의 이미지보다는 미래의 이미지에 초점을 맞추어 개발되어야 하므로 일반인들의 선호도에 의족하기 보다는 전문가의 주관적 판단을 객관화시킨 평가에 의해 결정되어야한다. 본 연구는 로고를 개발하거나 최종안을 선택 할 때 현업에서 발생하는 디자인에 대한 판단을 가능한 객관적으로 비교 평가할 수 있도록 로고의 개발과정과 검수과정에서 객관적이면서 동시에 전문적인 측정모형(가칭: GradingLogo)을 제시하고자 한다. 또한 제시된 측정모형으로 실제 로고평가에 적용하여 그 효과를 검증해 보고자 한다. 본 연구의 구체적인 방법은 다음과 같다. 첫째, 기존문헌을 통해 로고평가에 대하여 고찰 후 전문 디자이너의 주관적인 인식에서 로고평가항목을 발견함으로서 좋은 로고를 결정짓는 모델을 구체화시킨다. 둘째, 도출한 평가기준을 실제로 로고평가에 적용하여, 로고디자인의 기준에 대한 각 차원의 중요도를 논의하고, 디자인 경영의 효과적인 도구로서의 기준을 제시한다.

• 복식문화연구
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• 제23권4호
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• pp.628-643
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• 2015

This study is to assist in developing creative designs based on the humor available in the fashion world of Moschino. For the research method, this writing examined literature on humor and Moschino's fashion world and analyzed Moschino's fashion collection, show window, Maison Moschino, and collaborative products to conduct an empirical analysis of humor shown to the fashion media. The research results are as follows. The humor in Moschino's fashion appeared in the form of surrealistic humor with the depaysement technique, deconstructive wit in clothing, such as distortion, change, or exaggeration, and textual humor, including brand symbols, logos, and graffiti. Collection pieces indicated the brand's confirmative identity based on humor with the surrealistic depaysement technique and deconstructive wit through irregular phenomena, such as change, distortion, exaggeration, and illusion in clothing form. Additionally, such attributes added to Moschino's wit and humor in decorative costume components as graphic images, graffiti, and brand symbols, including smile, love, and reversal. The show window display delivered surprises and smiles through the production of surrealistic space borrowed from various objects. In particular, performance with surrealistic images helped to show the characteristics of parodic humor. Maison Moschino was a surrealistic space for the concept of the fairy tale and for practical experience, thus working as a communication channel for humor and emotion. Collaborative products also clearly reflected the identity of the designer's own humor, which showed scarcity value as well as differentiation.

• 복식문화연구
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• 제22권3호
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• pp.383-398
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• 2014

This research worked on the cooperative case by Marc Jacobs, who was involved in innovative collaboration in the field of fashion, and the analysis on imbedded values. With assessment of it, this paper aims at providing the theoretical ground on prevalence of fashion collaboration for creative innovation and presenting the basic material in establishing the design and marketing in the fashion industry. In methodology, the review was followed up about literature regarding Marc Jacobs and collaboration and his cases in 2001 through 2012. Results showed that his collaboration cases could be divided into those with modern artist, those with fashion brand or designer, those with other field brand than fashion, and those with the public star. They were processed into such a form as development of new product and collection, shop display, and exhibition event. The value could be drawn from this case examination of Marc Jacobs' fashion collaboration, which includes the design innovation through reinterpretation of tradition, innovation of maximized brand value, and transboundary innovation toward a vast extension of realm. Namely, the collaboration of Marc Jacobs would be the driving force for design innovation and the creative process for both parties concerned through endless cooperation and would generate the innovative value for fashion field.

• 한국의류산업학회지
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• 제9권5호
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• pp.516-527
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• 2007

This study was designed to make a proposal of a classifying model of Korean fashion brands as the first step in a long-term research plan developing a globalization roadmap for Korean fashion industry. On the basis of ownership advantages of a brand which included firm level attributes and brand level characteristics, fashion brands were classified into eight types. The proposed model was expected to provide an efficient and meaningful framework in developing global strategies both for academic and practical purposes. The model proposed four major categories of fashion brands including manufacturer brands, designer brands, retailer brands, and non-brands. Manufacturer brands were further classified into three groups of conglomerate fashion brands, fashion brands, and sports-specialized brands. Non-brands included small/very small-sized manufacturer non-brands, small/very small-sized non-brands, and OEM/ODM exporters. The classifying dimensions, brand type characteristics, and the globalization approach were discussed. Methods to test the reliability and validity of classifying were also discussed in the text.

• 한국정보통신학회:학술대회논문집
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• 한국정보통신학회 2019년도 춘계학술대회
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• pp.516-517
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• 2019

3D 프린팅 기술은 가상 혹은 평면에 설계된 디자인을 입체적으로 출력이 가능하다는 점에서 핵심적 기술로 주목받아 오고 있다. 본 연구는 슈즈에 관한 개념을 1차적으로 정리하여 일반적 제조과정을 분석하고, 3D 프린팅이 적용된 슈즈제작과정을 제시하고, 생산되는 슈즈 사례들을 브랜드별(스포츠 브랜드, 디자이너 브랜드)로 구분하여 맞춤형 제작 특성을 연구하였다. 사례 분석을 통해 3D 프린팅 슈즈의 4가지 디자인 제작 특성을 도출했다. 따라서 본 연구는 향후 3D 프린팅을 활용한 슈즈디자인 영역에서 보다 심화된 창조적 발상의 근거를 제시할 것으로 사료된다.