• 패션비즈니스
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• 제27권2호
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• pp.70-87
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• 2023

Today, VR, AR, and MR technologies that travel between real world and virtual world are rapidly developing. These technologies are adopted in luxury fashion brands for virtual fashion shows and runways, virtual retail shops and virtual fitting services. Despite its growth potential and social importance, virtual fashion space has been studies insufficiently. Therefore, this study aimed to examine the consumer experience on the virtual fashion space types, components of virtual fashion space, perceived value, and continuous usage intention. Prada, one of the most active luxury fashion brands in the VR field, was selected as the stimulus for an in-depth interview. Participants experienced virtual fashion show space through VR device (Oculus Quest 2 from Meta) before responding to the questions about their experience. Results showed that material space was more like virtual whereas perceptual space felt like reality. Participants could imagine about more virtual image from material space and more real image from perceptual space elements. Moreover, perceptual space enhanced the immersion, presence, and interactivity compared to material space. Most participants perceived that the virtual fashion show was useful and playful, leading to the continuous usage intention. It implies that improvements for some technical limitation from VR device and virtual contents can provide quality consumer experience in the future. Based on results of this study, fashion companies can establish useful marketing strategies for consumers' immersive and playful experiences when introducing virtual fashion space.

• 복식
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• 제64권6호
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• pp.131-147
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• 2014

Purpose of this study is to analyze the meaning of the hybrid digital culture and to find out the features of digital fashion shows appearing in the period of the hybrid digital culture as there have been almost no studies on the hybrid cultural values in the fashion shows and on the diachronic socio-cultural viewpoint of fashion show. The characteristics of hybrid digital culture were identified through the analysis of cases, and they were organized into three for this study; 'non-economic creativity', 'interactive communication' and 'transcendence'. Based on these characteristics, the features of hybrid digital cultures in the modern digital fashion shows were classified into the digitalization of presentation form and the acceptance by audience of digitalization using case studies. The features of digital fashion shows which appear through the presentation form in the digital fashion shows are as follows; 'Expansion of presentation media of runway' and 'Destruction of component factors of runway'. The features of digital fashion show in the perspective of audience's acceptance of digitalization are as follows; 'Audience's field experience through the live video', 'Participation by audience in interactive manner' and, 'Immersion in the virtual reality by the audiences'.

• 복식문화연구
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• 제24권3호
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• pp.367-384
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• 2016

The aim of this paper is to examine relationship characteristics and the relevance there of in the context of the Chanel collection, between the contemporary fashion show viewed from the artistic side and intermedia on interaction. This study analyzed the relationship characteristics between intermedia and fashion shows by focusing on Chanel fashion shows from 2010 S/S to 2016 F/W as actual case. The results are as follow: First, participational accessibility indicates the experience of a designer and audience in active participation changing into passive participation. Second, audience immersion is represented by the perception of being involved by the audience in the place and acting. Third, conceptual symbolism is sending of messages through the designer's concept manifesting in the specific features of the design. Finally, expandability of media explains trans-boundaries in experimental attempts. It concludes that fashion show is a space where the audience can have visual as well as new knowledge and experience through multi-sensory channels. The Chanel collection which is considered a huge art project at the fashion show, showed a relationship between philosophy and the direction through season concepts and brands. The Chanel collection has brought a new experience through the convergence of communications and cultural media, such as music and art according to traditional brand image.

• 패션비즈니스
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• 제25권1호
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• pp.65-79
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• 2021

Apparel fairs are business platforms specializing in selling fashion products. As the largest apparel fair in the United States and with the highest number of animated buyers in the entire world, the Las Vegas Magic Show utilizes this distribution platform to the greatest extent by sustaining over 90,000 buyers annually. In accordance, the exhibiting companies also participate in commercial functions by striving to promote brand awareness to consumers as they carefully plan to increase actual sales and secure new customers. Domestically, numerous organizations such as the Trade Promotion Administration, the Korean Apparel Association, and KOTRA(Korea Trade-Investment Promotion Agency) present similar international apparel fairs to strongly encourage domestic companies to exhibit at international apparel fairs. However, many companies fail to succeed in achieving actual results, which frequently causes them to attend the shows for the short term only. This may occur due to the lack of research on apparel order-writing exhibitions by academia and proactive workers. This research study was based on the careful observation and analysis of the three most recent years of Magic exhibitor attendees' operations and changes to accomplish the final objective of presenting a basic guideline to attend an international apparel exhibition.

• 복식
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• 제58권4호
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• pp.139-154
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• 2008

The purpose of this study was to investigate distribution structure system in the Italian Fashion market through the buying office and trade show. The role of trade show in Italian fashion market is facilitate interactions between the producers and buyers. Milano Unica is an example of Italian fashion trade show that successfully create the right image and attract the right audience through the differentiation policy of management strategy for the show organization. The role of buying office is to offer satisfactions for their customers through giving right informations about the product that they request to buy and confidence of quality and price.

• 한국패션뷰티학회지
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• 제2권1호
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• pp.65-74
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• 2004

The purpose of this study is to investigate the trends and characteristics of the anti-aesthetic shapes have been expressed in Fashion Show Make-up from 1995 to 2003 and to enlarge the possibility of expressions through various formative elements and to anticipate the prospect of the Make-up in the future. Anti-aesthetics means the beginning of criticism that destroy the system of modernism and the anti-aesthetic shapes in Fashion Show Make-up have been distorted, deformed, destroyed through asymmetrical arrangement or abnormal transformation or extreme reduction or omission and so on. It means that is to enlarge the range of expressions through a new interpretation. The anti-aesthetic characteristics in Fashion Show Make-up can be summarized as Avant-garde, Satire, De-construction, Poverty, inhumanity and most of shapes show experimental techniques in unlimited method. The differences at the turning point in 21C is to increase the experimental attempts such as informal and collage and graphic Make-up and so forth.

• 복식
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• 제28권
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• pp.65-84
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• 1996

The purpose of this study is to analyze the relation between the beauty of human body and the fashion illustration in each period And I attained my object through the investigation of features and changes of illustration which is given a vivid description of the features and development of ideal humam body beauty. By various methods I studied this subject. Frist I refered to sundry records Secondly I investiated the fashion illustrations which are included in Vogue. On the basis of this data I grasped the ideal types of human body beauty which is founded during the social change in each 10 years. And I analyzed the relation be-tween the ideal type and fashion illustration which show the change of fashion. The summary of result is as follows. 1. In the early part of the 20th century the beauty of human body is represented with the figure of large-sized beauty which emphasize shoulder and bust. And fashion ikllustration show 9 life-size broad shoulder full bust lim waist and hourglass silhouette. 2, In the 1910s the swell of strength vanishes gradually and shoulder and sleeve are straight type. And fashion illustration show 7 life-size high waist line. And that is tublar sil-houette of high waist and streamline shape in which bust and hip are not emphasized. 3. In the 1920s the ideal type of human body beauty is straight type which shows flat bust and unexaggerate hip. And fashion illus-tration is about 8 life-size tublar silhouette of low waist and lunger and slimmer and young style in which bust and hip are not emph-asized. 4. In the 1930s the ideal is womamly slim and long style. Fashion illustration is about 8 life-size and slim & long silhouette in which waist line is emphasized and bust and hip line come out. 5. In the 1940s the ideal type is womamly style which has narrow shoulder rich bast and slim waist. And fashion illustration is about 7 life-size and hourglass silhouette which has unartificial shoulder slim waist and empha-sized bust. 6. In the 1950s the ideal type is that of ro-bust health which emphasize build and muscu-lar system. And fashion illustration is 8.5 life-size and show full bust and made waist slimmer. That is sheath silhouette. 7. In the child who has full face with large eyeball slender and long leg: narrow and immatured body comparatively big head. And fashion illus-tration is 7 life-size and show slim and long neck flat bust long and slim limbs and big head. That is H type silhouette. 8. In the 1970s the ideal type is high stat-ure flat breast small hip and wide shoulders. And fashion illustration is wide shoulders and slim waist as 11 life-size and straight sil-houete. 9. In the 1980s the ideal type is extremely emphasized breadth of shoulder because healthy body and muscle are recognized as the symbol of ideal attractiveness. And fashion il-lustration is about 8.5 life-size and show mus-cular slim type that is slim silhouette. 10 At the present time the ideal type is slim and tall type which is empasized healthy beauty. And fashion illustration is 12 life-size which has healthy body and skin So that is slim and long type.

• 한국의류산업학회지
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• 제3권4호
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• pp.313-322
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• 2001

This study was designed to investigate actual conditions(the types and the personal physical job related factors) of fashion model in Korea. Survey was done through questionnaire data, 194 fashion models were involved survey. The data were analyzed by using frequency, cluster analysis. The results of this study were as follows : 1) The largest sample were as follows (about personal physical related factors) : unmarried, college graduate and undergraduate, resident in the Seoul, 2-24 yrs female with 175-177 cm, 52-54 kg, B-W-H (33-24-35 inch). 2) The largest sample (about job related factors) were as follows: getting private educational institution, 1-2 yrs job experience, B grade, less than 600,000 won for salaries, 100,000-190,000 won at a stage, 5-6 yrs duration of model work, inexperience in the international fashion stage, take up a foreign language, fashion magazine for fashion source, image and look of individuality for a necessary condition. The motive for job was the concern in the job. Problems with a guarantee were pointed out for the betterment working conditions. 3) The types of fashion model were classified into 4 types : the type of lack of professionalism, the type of show off one's talents, the type of dissatisfaction with working condition, the type of maturity of professionalism.

• 한국의류학회지
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• 제31권11호
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• pp.1586-1597
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• 2007

This study is an attempt to examine fashion elements appearing in the cover-page design of fashion magazines published in Korea and aims to find Korea#s own fashion identity in fashion styling and designing of those fashion magazines. In order to do so, the study reviewed the related literature and analyzed the issues of Vogue and Harper#s Bazaar magazines published between 2004 and 2006. The results of the study can be summarized as follows: In case of fashion photographs, the largest number of 72 sampled cover-model photographs is in approximately three-quarter cut size. For the items, most take the form of one-piece dress and feature the use of a variety of accessories. In case of dresses, most are the creations of foreign designers and famous fashion models or celebrities show up, mostly alone, as features on the cover pages. Because of the nature of fashion magazines, their primary emphasis is put on the dress among other things, but on the other hand some of those magazines have differential cover pages where the model#s face is highlighted with the look of makeup or a famous female actress stands out. However, the fashion in designing the cover pages of magazines is, rather than to show the dress itself, to create a new combination of different elements as total fashion or convey an image based on such a fashion style.

• 한국멀티미디어학회논문지
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• 제16권4호
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• pp.529-537
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• 2013

의류 패션산업에서 IT화가 진행되고 있으며 그 중 패션쇼는 디지털 시대의 흐름에 발맞추어 빠르게 변화하고 있다. 본 연구에서는 가상의상을 제작하여 실제의상과 유사하게 재현이 가능한지를 살펴보고, 이를 통하여 디지털 패션쇼를 구현한다. 이때 기존의 패션쇼 보다 아이디어를 창의적으로 표현 할 수 있는지, 효율성 및 보완해야 할 부분은 무엇인지 등 실제 사례 개발 연구를 통해 제시하였다. 그 결과 가상 의상은 매우 유사하다는 평을 받았으며, 실제 패션쇼에서는 재현하기 어려운 연출이 본 연구를 통해 보다 창의적이고 용이한 방법으로 실현 가능하였다. 미래에 3D 가상의상을 실제 패션산업에 도입한다면 유통 및 산업의 혁신을 통해 새로운 콘텐츠 창출이 가능할 것이다.