• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.2
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• pp.25-37
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• 2005

This is a study on the origin of fashion imaging. First of all, 1 looked into the history of French fashion printmaking from late 16th century to early 19th century. Then studied the changes in the characteristics of context and form over the different periods and summarized each concept. At the same time, I looked into the process of fashion magazine evolving from fashion printmaking. In order to find out how fashion printmaking dealt with the characteristics of fashion media, 1 researched the commercial environment of fashion printmaking and reorganized the methodology of its media's role. Such analysis and results helped to reach a definition on how to regulate fashion printmaking. Fashion imaging was sparked by a small curiosity. As people began to be rage over new things, it came to introduce the fashion leaders of the public combined with the attributes of trend. At times when changes were so big that they were unpredictable, it itself became a fashion leader. Then a fashion creator emerges and it's function changes to that of a communication media. Moreover, the regular issuance of fashion printmaking implemented the concept of trend cycle and fashion imaging completely fulfilled the conditions of a communication media. The massive increase in the production of fashion printmaking and magazine contributed to the spread of fashion and the diffusion of printmaking lead to mutual complementation and synergy necessitated by fashion. Thus, the democratization of fashion and the commercialization of printmaking art occurred at the same time.

• Journal of the Korean Society of Costume
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• v.66 no.4
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• pp.128-145
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• 2016

Unlike the past, when fashion brands adopted unilateral communication with their consumers, the brands today have recognized the importance of bi-lateral communication. This has led to the companies producing fashion films as a means to elicit a consensus in opinion between the brands and the consumers. Such fashion films should be understood as films using fashion that transcends time, and also as a type of fashion media. This study, which is based upon the understanding that fashion films are a part of strategic marketing for enhancing the value of brands, used domestic and international literature in order to define fashion films, and establish a theoretical basis for these films. Corroborative study was also conducted for the purpose of practical categorization. This study aims to investigate the characteristics of fashion films, and to suggest a new approach to the study of fashion films. The study adopted the research methodology used in Dudley Andrew's film theory in order to create a theoretical frame that can be used to categorize fashion films. The theory is of significance because it is the basis for the category of motion picture fashion film and media technology fashion film. The study on the categorization and the characteristics of fashion films based upon 6 sub-categories shows a consistent trend of fashion films. From the results, it can be inferred that the films contribute, in part, to the enhancement of brand value. Fashion films have shown rapid growth with the mixture of other media, and with the introduction of cutting-edge technology. Fashion films can be used as new marketing methods for the fashion brands in this digital age.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.107
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• pp.58-67
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• 2006

This study of popular culture is in based on an academic point of view and based thereon an investigation of popular culture from a fashion standpoint follows. This study is to suggest that the popular culture theory can be a basic framework to examine the characteristics of fashion Icon and to verify that the characteristics of Fashion Icon is similar to the codes of the popular culture of today, This study considers the characteristics of popular culture as commercialism, mass-media relationship and a symbolic interaction. The images of movie stars projected through diverse entertainment media are the very fashion icons and strong role models that are copied by consumers. Now, the public take the lead in cultural industry, and they create new images as positive receivers of the images of fashion icons, not as mere imitators or followers. Fashion irons have contributed to diversifying the styles of ideal feminine beauty, and their lift pattern and image are one of the major sources to stir up the imagination and inspiration of people. Thus, the times, fashion and entertainment media have continued to evolve, closely affecting one another, and fashion icons play a role of fashion leader, through entertainment media, who takes the initiative in mass fashion without just being confined to the field of entertainment. This study meaningful from the aspect that discussion of popular culture has been placed in a position that recognizes the entity of and interest in popular culture. through this study, I hope that the scope of interest in Fashion design will expand and that approaches to popular culture will become more diversified.

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.4
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• pp.576-585
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• 2015

This study examined difference of purchase behavior of appearance orientation, appearance evaluation, and fashion product purchase behavior on media contact responses. Data were collected from 315 female Chinese university students in Daejeon and Chungnam from May to June 2013. Data were analyzed by descriptive statistics, t-test, correlation, crosstabs analysis with the SPSS-WIN 20.0 program. The results of this study were as follows. First, media contact responses correlated appearance orientation and appearance evaluation. The active group of media contact responses indicated a more active appearance orientation and appearance evaluation. Second, the active group of media contact responses were fashion product purchase behavior. This study verified the relationship of media contact responses and appearance variables-appearance orientation, appearance evaluation, and fashion product purchase behavior.

• Journal of the Korean Society of Costume
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• v.58 no.6
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• pp.42-53
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• 2008

This study is about the development of Fashion Design using of Korean Motive applied Digital Medium. With rapid change during the 21st century, digital media has emerged as the most important communication tool to facilitate speedy and interactive conversation. The recent emergence of 'Mass Customization' is a good reflection of digital transition's interactive features, realizing product variation and customization through flexibility and immediate responsiveness. In this so-called digital era, fashion is a tool that facilitates the use of digital media, while acting as the object, or the purpose, where digital media can be applied. This study looked at the development situations and future utilization method regarding digital fashion, which was recreated through digital media. In this study, a new design process was developed through digital media and actually manufactured Korean image clothing to reflect the motif of plant found in Korean folk paintings. Three-Dimensional(3D) digital shape was dressed in virtual clothing for comparison, thereby adding some features of textile design to three-Dimensional(3D) shape. Through the process, the study can provide various potential accesses to future development of fashion design utilizing digital media.

• The Research Journal of the Costume Culture
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• v.19 no.1
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• pp.230-243
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• 2011

In this modern digital era, there are very vigorous arguments about digital and media aesthetics throughout culture and art on the basis of new transferring of recognition about the art-media's characteristics. Therefore, this paper tries to discover the art-media's characteristics and aesthetic value that are included in contemporary digital fashion through studying the fusion between digital and fashion. The purpose of this research is to offer positive and evolutive opportunity of artistic thinking to make the meeting between fashion and media suggest the future generation, adaptation and recognition in the media - developmental environment that will be deeper and more fueling. In the area of research method, this paper takes the method of theoretical research by referring national and foreign literatures and preceding research-papers, and carries out investigation and analysis about digital fashion for the last 10 years. The results of this study; The art-media's characteristics of modern digital fashion are virtuality, immateriality and characteristics of multimedia. The aesthetic values can be classified with four kinds of properties. First is hybridity initiated from multi-media that creates works; the second is infinite reproductivity initiated from the characteristics of the multi media and the digital carrier. Thirdly, there is also interactivity appeared all over the area of production, adaptation and perception caused by non-linearity and immateriality. Finally there is synesthesia that can extend the capability of sense through digital media.

• Fashion & Textile Research Journal
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• v.21 no.4
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• pp.432-451
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• 2019

Companies and brands that practice sustainability pay attention to New Media due to its ability to build a sustainable relationship between companies and consumers. The need for research on specific roles, characteristics, and social media effects on eco-friendly advertising has had rapid growth in marketing programs for sustainable activities especially shown through social media. Information about sustainable fashion has spread to consumers through social media, and multifarious efforts have been made to attract the attention of youth. Despite the dramatic increase in eco-friendly marketing through social media as a part of sustainability, there is a lack of research on the major influences of emotional factors such as ad color and expression in social media. In this context, it is meaningful to identify relationships between emotional responses, advertising value and consumer behavior of sustainable fashion brands in Instagram and implement a suitable advertising type (color vs expression) for consumers. We used 366 responses for the final analysis. Data were analyzed by factor analysis, structural equation modeling using SPSS 18.0 and AMOS 18.0. The results of this study suggest that emotional responses, advertising value have a significant effect on the flow. This study expands on a previously limited research field by verifying consumer responses to image advertising on Instagram, rather than general sustainable fashion marketing. The study results also provide meaningful implications for a relation formation between customers and fashion brands vis-${\grave{a}}$-vis sustainable social media marketing.

• Journal of the Korean Society of Costume
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• v.59 no.5
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• pp.83-100
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• 2009

In the 'Society of the Spectacle', Guy Debord argued that modern life was dominated by the commodity form and the false desires it engendered. He predicted in 1967 that culture would become the driving force in the development of the economy by the end of the century, He was sure when culture becomes nothing more than a commodity, it must also become the star commodity of the spectacular society. Fashion, the starriest of star commodities with its seductive fantasy approaches to the viewers occluding the commercial reality. From this point, the spectacular property of the modern fashion can be found. This study starts on the notion that the modern fashion is on the center of capitalist consumer culture and is constructed by spectacle. On this premise, the purpose of this study is analysing the attribute of 'spectacle' and 'keeping distance ￡Tom spectacle' in modern fashion expressed in fashion show, fashion media and fashion store. The fashion houses in the 1990s that recognised the commercial value of shock and spectacle were eager to employ young spectacularly visible named designers. They generated the publicity necessary for sales of perfume, cosmetics, bags and diffusion range of clothes through the visible fashion show and fashion media. In the fashion show and fashion media, fashion goods as the commodity both flaunts and disguises its commercial nature in spectacle. The spectacle on the fashion store is the process turning the commodity into image to arouse viewer's higher interest. In the fashion store, the appearance of the commodity such as space, display, package is considered more importantly than its 'utility value'. Meanwhile, the study also covered the innovative trial to evade the ubiquitous 'spectacle' in fashion area.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.3
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• pp.49-61
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• 2020

This study analyzed the social media accounts and performed a Big Data analysis of Z-generation fashion using Textom Text Mining Techniques program and Ucinet Big Data analysis program. The research results are as follows: First, as a result of keyword analysis on 67.646 Z-generation fashion social media posts over the last 5 years, 220,211 keywords were extracted. Among them, 67 major keywords were selected based on the frequency of co-occurrence being greater than more than 250 times. As the top keywords appearing over 1000 times, were the most influential as the number of nodes connected to 'Z generation' (29595 times) are overwhelmingly, and was followed by 'millennials'(18536 times), 'fashion'(17836 times), and 'generation'(13055 times), 'brand'(8325 times) and 'trend'(7310 times) Second, as a result of the analysis of Network Degree Centrality between the key keywords for the Z-generation, the number of nodes connected to the "Z-generation" (29595 times) is overwhelmingly large. Next, many 'millennial'(18536 times), 'fashion'(17836 times), 'generation'(13055 times), 'brand'(8325 times), 'trend'(7310 times), etc. appear. These texts are considered to be important factors in exploring the reaction of social media to the Z-generation. Third, through the analysis of CONCOR, text with the structural equivalence between major keywords for Gen Z fashion was rearranged and clustered. In addition, four clusters were derived by grouping through network semantic network visualization. Group 1 is 54 texts, 'Diverse Characteristics of Z-Generation Fashion Consumers', Group 2 is 7 Texts, 'Z-Generation's teenagers Fashion Powers', Group 3 is 8 Texts, 'Z-Generation's Celebrity Fashions' Interest and Fashion', Group 4 named 'Gucci', the most popular luxury fashion of the Z-generation as one text.

• Journal of Fashion Business
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• v.24 no.1
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• pp.75-87
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• 2020

The purpose of this study is to find trends in new media fashion content by analyzing the fashion content of the official Instagram accounts of domestic fashion magazines that are being transformed by digital media. The framework for these analysis of fashion content type and methods of production is based on one used in an earlier research project. Empirical analysis is conducted on Vogue Korea's official Instagram accounts, using the highest number of major views as the secondary measure of interest. After screening for fashion content in posts on the Vogue Korea account for four months, 291 short video postings were extracted to analyze the number of views the postings received. The results were categorized as 'star', 'show/exhibition', 'product', 'shop', 'fashion film', 'designer', or 'event', included in the data are the number of postings by type and the number of views by post. Based on the characteristics of the creator and the editing, the posts were classified into 'professional production highlight', 'professional production private', 'UCC' or 'GIF' videos, the number of views per post were also collected. The research results show different levels of interest depending on the type of fashion content, and also on the way the videos were produced. The study also investigated how the combination of these two factors affects interest. When producing a new media fashion content, combining a 'star' type post with 'professional production private' video content was most popular. The selection of production method is therefore important even given the same type of content.