• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.5
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• pp.823-838
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• 2018

The article surveys the technique and characteristics of contemporary fashion exhibitions in terms of fashion museography and fashion curation. The article reviewed both a literature study on the history of fashion exhibition focused on the display technique as well as a case study of domestic and international contemporary fashion exhibitions. The results of the article is as follows. Fashion brand exhibitions are about building competitive business advantage by planning differentiated contents. It gives viewers a brand fantasy and increases brand loyalty. This type mainly displays the latest collections on the commercial purpose as well as uses diverse mediums and high technology to make a spectacular space that provides an immersive experience to the viewer. Second, the museum fashion exhibition focuses on the roles of fashion in terms of social, cultural and artistic aspects that also focus on public education. The presentation technique emphasizes careful collection conservation rather than celebrate fashion business. The article is to encourage a further scholar discourse of fashion curatorial practice and theory.

• The Research Journal of the Costume Culture
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• v.27 no.4
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• pp.310-322
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• 2019

Since the late 2000s, fashion exhibitions have expanded to encompass a variety of concepts and sizes, and the need for research on exhibition planning, installation, and direction, including curating, is emerging. In this context, basic research is deemed necessary to encourage more experimental and in-depth research into the planning and orientation of domestic fashion exhibitions. Accordingly, by analyzing the exhibitions of Judith Clark, a pioneering fashion curator, and fashion exhibition planner, the aim of this study is to examine the characteristics and directing points of her curation. This study proceeds as follows: first, the concept and type of fashion exhibition and curation are investigated. Second, the exhibition cases curated or produced and installed by Judith Clark are examined and analyzed. Finally, based on this analysis, the characteristics and directing points of her curation are identified. In exhibitions, Clark's directing style features use of a variety of objects, the diversification of the flow-path through space division, and collaborations with various fields or experts. Clark's curation points, based on such characteristics, are as follows: reproduction-oriented curation to capture the age of the time based on historical research; storytelling-based curation; and transboundary curation with multiple methods and open processes. This study is expected to serve as a foundation and precedent that will lead to further research on fashion exhibitions and implementation.

• The Research Journal of the Costume Culture
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• v.30 no.6
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• pp.861-879
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• 2022

Simulacre means a copy of the original, an ostensible representation of someone or something. This study closely looks at the 2017 <VOGUE like a painting exhibition> hosted by the fashion magazine Vogue. The purpose of this study is to use both theoretical and empirical analysis to analyze the simulacre developed in fashion photographs inspired by famous paintings in the exhibition booklet. The booklet is divided into four sections: portrait, rococo, landscape painting, from avant-garde to pop art. It also contains 55 pieces comparing the original masterpieces to the works of 26 photographers inspired by them. The fashion photographs were analyzed using Jean Baudrillard's four stages of simulacre transformation: represent, denature, dissimulate, and replace image change theory. The degree of simulacre expression was indicated three times on a four-point Likert scale by five fashion majors, and the results were integrated and analyzed. As a result, in fashion photography, simulacre-due to the development of photography technology and the photographer's artistry-appeared in various ways; image denature was most preferred, followed by dissimulate, represent, and replace. This study shows that image analysis of fashion photo-graphs and applying the perspective of simulacre when creating artworks can be a way to obtain rich qualitative data in the future.

• International Journal of Costume and Fashion
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• v.4
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• pp.131-144
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• 2004

“The ultimate aim of the anthropology of art ［fashion］ must be the dissolution of art ［fashion］.” Alfred Gell, Art and Agency (1998) This study aims to rethink fashion by examining issues that have emerged out of recent writings in the anthropology of art. Since their inaugural coinciding, sound discussions have emerged between the anthropology of art and the art world, addressing such subjects as： ‘artworks and artefacts’, ‘Western and non- Western discourse’, and ‘art and agency’ (Gell 1992； 1993； 1996； 1998). This study is comprised of a series of discussions, the subjects of which follow： the relationship between fashion and art； art and the anthropology of art； and in parallel with this, examining the possibility for an anthropology of fashion. This study employs a qualitative approach based on the discussion of relevant literatures dealing with fashion, art and art theory for its methodology, followed by a brief examination of a case of the Vivienne Westwood exhibition at the Victoria and Albert Museum in terms of an empirical account.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.5
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• pp.936-953
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• 2016

This article surveys the meaning and history of fashion museum exhibitions to understand the characteristics that make a fashion museum exhibition special. It explores dress museology and fashion museology in theory, and practice across a range of international case studies that include the Costume Institute at the Metropolitan Museum of Art in New York, Mode Museum in Antwerp, and the Victoria and Albert Museum in London. In particular, it examines how curatorial intervention has developed the interpretation and display techniques of dress within the context of the museum or gallery as well as how fashion has made museums accessible to diverse audiences. For a specific case study, we review the types and roles of fashion exhibitions organized by the Simone Handbag Museum, Seoul. It is the first handbag-centered fashion museum in the world as well as one of the most representative local fashion museums. The museum collection includes fashionable western handbags from rare specimens of the $15^{th}$ century to the latest bags of the $21^{st}$ century, and presents a history of changing fashion cycles and the major socio-cultural shifts that have profoundly affected women's lives in public spaces. Exhibitions show the perspective to a range of curatorial methodologies and show the innovative approaches towards collections and displays with broader fashion issues such as gender, materialism and technology. The article is to help encourage further scholar discourse between fashion museum exhibitions and fashion museology.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.5
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• pp.809-822
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• 2018

Fashion brands communicate with consumers through the use of fashion films that are effective in the delivery of the image. This is because digital media (such as fashion films) are popular and accessible as well as effective in attracting people's attention. The reasons why fashion films have become a new fashion media among many others is becuase they are based on an existing platform. This study will examine offline platforms of fashion film: flagship store, fashion exhibition, and fashion show. The offline platform of a fashion film is a physical space where a fashion film can be exhibited and viewed as a medium that can effectively convey fashion film to consumers. As a research method, the concept of an offline platform of fashion film is established based on a literature review of fashion films and platform that is followed by an empirical case study. The study results show that the offline platform of a fashion film is in the progress of turning into an autotelic space where the consumption of such culture as cinema and theater has become possible.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.4
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• pp.571-583
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• 2018

'Dress of the Year' by the UK Fashion Museum in Bath suggested an ideal role for a fashion museum and created fashion history along with the development of fashion journalism. A case study and literature research identified the characteristics of this scheme in terms of roles and functions for a fashion museum and defined them as: suggestion of collection cases, data construction for fashion research, and contribution to fashion critique. First, it suggested a good case of collection process. The 'Dress of the Year' creates a museum identity with a collection selected by designated journalist reviewer every year in order to maintain and strengthen a virtuous cycle. Second, it contributed to the accumulation of data for fashion research. The vast amount of data accumulated for more than 50 years became a fashion history that shows the change of fashion trends with a value of public confidence. It presented the possibilities of fashion research in various perspectives. Third, it contributed to the development of fashion criticism. The development of fashion journalism was conducted on the initiative of 'Dress of the Year' as well as contributed to the birth and growth of fashion journalists.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.1
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• pp.1-18
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• 2021

The purpose of this study is to analyze and understand the approach of critical fashion by comprehending the appropriation of art as a sociocultural phenomenon that influences contemporary fashion. This study inquired into the relevant literature to explain the theoretical background behind critical fashion, and conducted a case study using exhibition catalogues, exhibition works, articles, fashion magazines, and fashion-related websites in order to examine cases of appropriation strategies. As a subversion of meaning by using an existing transposable object image to deliver an experience unlike the actual image, subversive appropriation in critical fashion takes existing things as they are and rearranges them with the purpose of subverting social values while having its subversive style of appropriation. Referring to a style that focuses on labelling the distance between the subject, that refers and that which is referred to, referential appropriation has been reprogramming existing things with an internal and introspective attitudes. In other words, from an exploitative style of appropriation aimed at expanding the meaning with found in objects by avant-garde fashion designers, to a subversive style of appropriation aimed at subverting meanings with transposable objects by conceptual fashion designers, there has been a change toward the referential style of appropriation aimed at expanding artistic forms with created objects critical fashion designers.

• Fashion & Textile Research Journal
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• v.25 no.5
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• pp.560-567
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• 2023

This study aims to rediscover the industrial value of a borderless service in the hyper-connected era by producing fashion content at the forefront of the cultural industry as XR content and contributing to developing fashion content for edutech. The research method employed design aesthetic theory, while the empirical proposal utilized scientific knowledge information to build a framework for 3D convergence content. The characteristics of fashion content exhibitions that apply the neumorphism technique are as follows: The first is a virtual space that produces clothing culture by type. Africa, where dyeing and crafts are developed, selects a product-oriented exhibition type; Asia, where weaving and textiles are excellent, selects a random movement type; and Europe, where the evolution of clothing design over time is evident, selects a guided movement type to create a three-dimensional fashion edutech. The goal was to produce content. The second is creative reproducibility, which combines a new fashion design that embraces the aura of the original with a trendy sense. The realistic folk costume style of the original allowed for its implementation in the AR exhibition space using historical traditional style techniques such as weaving and textiles. The third is building organic, modular content. By designing and then saving/editing/arranging the basic VP zone for each style, learners and instructors can freely edit the content for each fashion class topic and create various presentations to ensure that it functions as non-face-to-face edutech content around the world.

• The Research Journal of the Costume Culture
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• v.15 no.3 s.68
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• pp.446-460
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• 2007

This study shows that digital technology is adapted practical method in fashion design process and virtual simulation and cyber fashion gallery based on virtual reality are researched. This study is proposed the 3D fashion design simulation in the virtual space used on 3D studio max, poser, photoshop program according to fashion design process. The main design concept is "temporary bridge" from rainbow. This study is supposed six fashion design in accordance with three sub-theme under main concept by changing color and texture used on 3D simulation. The results of this study are as follows: 1. This study produced Cyber Fashion Gallery in virtual space to the form of CD Rom title and web title by Macromedia Director 8.5, Macromedia Flash, Sound Forge. And it is enlarged the field of expression in aspect of Fashion Exhibition, beyond restriction of time and space. 2. Clothes modelling tools is able to easily adapt to various textiles and patterns in 3D dynamic virtual mannequin before making clothes. Digital technology is able to express image changed color and texture, especially new material, multi-finishing material and brilliant material and so on. So this study is able to develop tools for study of fashion coordination. 3. Cyber Fashion Gallery consists of gallery, story, painting, symbolism, example, image, quit. This study is enlarged the range of clothing expression by digital technology and open to possibility customized-manufacture.