• 한국의류학회지
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• 제45권4호
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• pp.630-647
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• 2021

As generations Y and Z gain influence, luxury fashion brands are interacting with younger digital consumers through fashion film, seeking to offer them a differentiated brand experience. Using a literature review addressing characteristics of fashion films as a communication medium and luxury fashion brands' heritage in the digital era, this study examines how brands express their heritage through fashion film, categorizing those expressions in terms of implicit meaning. The case study analyzed films from Louis Vuitton, Chanel, Dior, and Burberry uploaded to YouTube between 2018 and 2020. First, to retain their status as luxury, brands emphasize historical legitimacy. Specifically, they highlight their iconic historical image, their succession of creative directors, valuable historic locations, and diversity of consumer's brand experiences. Second, by stressing craftsmanship, integrating contemporary art and local culture, and utilizing a museum aura, they use brand heritage to acquire luxury status. Third, they attempt to mythify the founders by creating the persona of the fashion designer and the artist. The results show that the heritage depicted in fashion films is a key way in which luxury fashion brands resolve the tension between accessibility and exclusivity that they encounter and to get consumers emotionally engaged with brands.

• 한국멀티미디어학회논문지
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• 제17권11호
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• pp.1374-1381
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• 2014

Digital technology With the popularization of computers and IT technology development is causing a dramatic change across the human life. Increase of profit in fashion industry has a significant impact on the overall industry. It has been studied to develop consumer oriented higher value-added fashion products of including clothes using digital technology abroad. In this paper, we propose a system that when user stand in front of display, user can show body captured depth camera look the coordination of a variety of costume and fashion concept through a magic mirror. Using the system, we will satisfy the convenience of user and be used as a way appropriate to clothing shopping in the shortest time. The system will develop personalized fashion content industry enhanced interaction.

• 문화기술의 융합
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• 제7권1호
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• pp.75-81
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• 2021

첨단 정보통신 기술의 발달에 따라 디지털 문화에 익숙한 Z세대는 미래 패션을 재편할 수 있는 패션 산업의 주요 소비층으로 관심이 집중되고 있다. 본 연구에서는 디지털 기기에 능숙하고 인터넷을 통한 정보 습득 및 모바일 라이프스타일에 친숙한 Z세대를 위한 캐쥬얼웨어를 3D 가상 시뮬레이션에 의해 디자인하여 걸리쉬, 스포티브, 이지, 컨템포러리의 4가지 룩으로 디자인 전개하였다. 의상디자인에 3D 가상 착의 시뮬레이션의 활용은 팬데믹 환경에서 디지털 패션 디자인기획 및 생산 프로세스와의 융합을 통한 미래 패션 산업의 디지털화를 구축하고 온라인 플랫폼의 유통을 강화시킬 수 있다. 언택트 패션 제작 시스템을 도입하여 업무의 효율성 강화를 위한 지속적인 혁신을 시도하고 있는 기업 환경에서 3D 가상의상 기술의 활용은 3D 샘플 제작, 온라인 피팅, 수정과 보정 및 품평을 통해 업무 프로세스에서 소통이 확대되고 인적, 물적 자원의 경감에 따른 긍정적 효과를 통해 지속 가능한 패션의 가치를 확대시킬 수 있다.

• 한국의상디자인학회지
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• 제25권2호
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• pp.135-150
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• 2023

The purpose of this study is to understand the formative characteristics of futuristic virtual fashion revealed in virtual fashion platforms targeting the human body. First, the current status of fashion in the metaverse and futurist fashion were reviewed and summarized by referring to prior research. Next, among the items posted on DRESSX, "futurism" was searched and those resturning a positive result were collected as research subjects. The characteristics were organized into design elements: colors, shapes, materials, and patterns. Futuristic aesthetic characteristics were derived from the characteristics of each design element. As a result, color showed the characteristics of achromatic, vivid and neon colors, multi-color and gradation, multi-color due to reflected light, and color conversion. As for the form, a body-concious look or exaggerated silhouettes, spatial expressions in geometric structures, forms imitating living things, and fluid silhouettes using clouds were prominent. Materials showed the digitization of universal clothing materials, application of industrial materials, use of metal materials, and unrealistic materials. In the patterns, geometric abstract patterns, patterns that reveal the digital world view, and moving fluid patterns appeared. The aesthetic characteristics of futurism in virtual fashion were revealed in four categories: visual dynamics, high-tech sensibility, variability, kineticisim. Visual dynamics were revealed in geometric forms, and intense neon colors. High-tech sensibility was prominent in the use of metal and industrial materials, light emission, and patterns of the digital world view. The expression of multiple colors by reflected light and the change showed the variability of futurism. The use of unrealistic materials, such as clouds and fire and fluid silhouettes expressed kineticisim. The infinite expressiveness of virtual fashion made it possible to actively express the aesthetic characteristics of futurism.

• 한국의류학회지
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• 제40권2호
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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.

• 복식
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• 제58권4호
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• pp.1-12
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• 2008

The expansion of media art has not only developed the digital technology but also given lots of environmental evolution to improve various fields of design as the main topic of the 21st century. The purpose of this study is aimed at proposing the new design that integrates fashion accessaries with media art technology. This will be done by understanding the social environment in digital ages and studying technology of design based on a variety of literature about changes in our society, neo value, vision, culture and art with fundamental notion of media art. First stage for this study, put an idea into just fashion accessary design because it is not sufficient to incoporate fashion and media art technology. The presented OLED(Organic Light Emitting Diodes) in this study is a kind of display to be in a limelight in the next generation and can be applied to various field of design. media art simultaneously moved into the scope of artistic debates. As a result, we can found that the use of audiovisual introduced numerous new aspects to the conceptual and aesthetic engagement with questions of conception. Today, the presented forms of art and inter-action from the closed -circuit work to interactive media art installations to open process-exist as parallel possibilities.

• 한국의상디자인학회지
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• 제12권4호
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• pp.207-221
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• 2010

This study aim to suggest how alter the korean traditional image design for umbrellas by sublimation transfer digital textile printing. Umbrellas are highly depend on design and made from polyester fiber which is proper item to utilize sublimation transfer digital textile printing. Sublimation transfer digital textile printing system can use computer system to create the delicate high dense images and one full layout through the hole umbrella. It can create distinctive style of design compare with former screen printing umbrella design. As a result of this study, Korean traditional images were adopted and recreated for umbrellas as the modern practical item. 7 of umbrella designs were developed and sample umbrellas could be produced in short period comparing with screen printing process. Through this study, as green printing process, sublimation transfer digital textile printing will be more applied to manufacture high quality textile products along with design development, thus it is expected as an alternative plan to leads growth of umbrella industries.

• 패션비즈니스
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• 제15권2호
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• pp.131-144
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• 2011

The purpose of this study is to propose 3D art make-up design process by reproducing real objects through preliminary digital drawing with Photoshop (Photo Shop CS4.0, Adobe, USA) and using special make-up that has never been done previously, and produce creative problem solving plan to make concrete expanding thoughts and ideas. As for this study method, this study was composed of preliminary study, literature study by book examination and positive study on design process that performed preparatory work and reproduced real objects. Real case study by art make-up design process can improve effective design expressing ability by utilizing special make-up, diversify techniques, extend expression areas by materials, and create unique design. In addition, preliminary work by digital drawing, a process to predict real object work in advance, could reduce time and cost while improving work skill for work production, raise design accuracy and make easy the modification of idea. This study is anticipated to activate digital make-up by various digital techniques including Photoshop.

• Human Ecology Research
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• 제61권4호
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• pp.585-598
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• 2023

This case study is centered on the developing process for the curriculum of fashion design major that is focused on the concept of competency, which is becoming increasingly more important in universities. The purpose of this study is to develop a competency-oriented curriculum for fashion design majors based on recent social changes that accentuate the importance of competency in such programs. In order to establish a competency-oriented curriculum of the Department of Fashion Design, the researchers examined environmental trends within the fashion industry, the curriculum and major competencies of other universities were examined. As a result, the key ability types of the Department of Fashion Design at A University, a local private university, were determined to be: communication and consideration, creativity and convergence, digital fashion, and practical adaptability. Four major abilities were selected to develop competencies suitable for the aforementioned ability types. These abilities are design planning and development, creative and convergent thinking, integrated information search and utilization, and field expertise application. From there, the curriculum was organized with these four major abilities in mind, and curriculum completion plans were developed for each grade and semester according to the stage and level of contents for each subject. To ensure the validity of the curriculum, it is necessary to develop a back-flow system that demonstrates whether the targer competency has been acquired through a competence-based curriculum.

• 한국의류학회지
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• 제48권3호
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• pp.397-416
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• 2024

This study investigated gender characteristics in contemporary virtual fashion design, focusing on avatars and genderless fashion in recent collections from Auroboros, Republiqe, Placebo Digital Fashion House, RTFKT, and Tribute. Employing content analysis within a theoretical framework of gender-related research, the study coded virtual avatars in terms of biological sex, appearance, and sociological perspectives. The results showed a preference for female-type avatars, through which androgynous aesthetics were embraced and traditional gender norms were challenged. Male-type avatars reflected experimentation with blending masculine elements, emphasizing inclusivity. Human-like avatars indicated a preference for designs that promoted inclusivity and, in the process, challenged binary classifications. The examined brands strategically capitalized on compromise, sensuality, and playfulness, thereby breaking away from traditional values to opt for more diverse styles. Genderless features combined elements from traditional men's and women's clothing, espousing sensuality and playful exaggeration. These findings signify a dynamic shift away from conventional gender standards to foster inclusivity and experimentation. They can serve as a reference for promoting creative strategies and design innovation, challenging the traditional gender perspective in the fashion industry. Implementing these strategies can lead to a more inclusive representation of fashion styles, encouraging critical thinking about gender norms.