• 패션비즈니스
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• 제25권3호
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• pp.36-50
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• 2021

In the COVID-19 era, globally, companies in the fashion industry are pursuing new convergence methods through digital technology. Conventional fashion shows have become difficult to run exclusively, instead, the shows are run through a combination of offline and digital arrangements. This paper examines the trends of seven digital fashion show weeks in London, Paris, Milan, New York, Seoul, Shanghai, and Tokyo, and presents strategies applicable in Korea's Seoul Digital Fashion Week. We focused on the digital technology used in the digital fashion weeks fashion brands, and the characteristics of the host cities. The study conducted a literature review and case study through corporate and research report data, and the Fashion Week website. Based on the study results, changes in fashion industry calendars like 'See now, Buy now', seasonless, and unified collections for men and women, expansion of D2C system, the rise of short-form contents, and the expansion to the virtual world space and physical limitations can be cited as changed trends. The study provides insight into the incorporation of the Korean Wave and K-Pop singers, industrial structure change, and the establishment of B2B system in the Seoul digital fashion week. The shift to the digital runway is not only an alternative method to cope with the COVID-19 era but also a new "new normal". Fashion shows are no longer fixed and planned in free spaces. As a venue displaying the creator's personality, digital fashion week is expected advance in the future.

• 한국의류산업학회지
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• 제24권2호
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• pp.249-259
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• 2022

To analyze recent changes in designer-specific garment composition, detail, and design elements of jackets, we classified jackets from the Paris Haute Couture Collection from 2000 S/S to 2019 F/W according to their designers and examined their characteristics. Our analysis of the jackets by Armani, Chanel, Dior, Jean-Paul Gaultier, and Valentino shows that the hour-glass silhouette was most common in Armani, Chanel, Dior, Jean-Paul Gaultier and Valentino jackets; Chanel used more straight silhouettes compared to other designers. Most jackets, regardless of the designer, had midlength waist-to-bottom, tight sleeves fitted to the body, natural shoulder shape, and solid color. Moreover, woven fabric was the most common material. Jackets with no collar were the most common for Armani, tailored collars for Dior and Jean-Paul Gaultier, and standing collars for Chanel and Valentino. For the closure method, Armani used hook-and-eye, Chanel, Jean-Paul Gaultier, Valentino used button closures, and Dior used snap closures the most. New design attempts by designers are bringing details and design elements together. In an era characterized by an abundance of designs and frequent replacement of each brand's creative designers, it is important to create and maintain a brand's unique design identity and philosophy that can meet consumers' elevated standards, which tend to be biased towards new and stimulating designs due to the development of the IT industry.

• 한국의상디자인학회지
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• 제23권4호
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• pp.39-56
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• 2021

The purpose of this study was to observe the expressive characteristics of Neo-Deconstruction design, examine the expressive characteristics of Neo-Deconstruction design in the collections of Jacquemus, and analyze their internal meanings. For research, observations were made based on the concepts and expressive characteristics of Deconstruction through prior research and literary review, and analysis was conducted focusing on the expressive characteristics of Neo-Deconstruction. The scope of analysis included a total of 605 photographs collected from a total of 17 season collections of Jacquemus from the 2013 S/S to the 2021 S/S season. The results are as follows. First, the Neo-Deconstruction of Jacquemus expresses the youth culture using bright images such as diverse colors and patterns with 'positive playfulness' and pass on positive messages with deconstructive and playful forms, such as exaggeration and reduction and recombination and reconstitution. Second, with tendencies of 'symbolic receptivity', Jacquemus gained inspiration from his own life, memories, and hometown, and attempted to express the street women of places such as southern France, Paris, and Monaco in a number of collections. Also, he proposed designs that can be worn easily by anyone, regardless of gender, and as plus size models began to become more common respect was given to the tastes and preferences of diverse individuals without distinctions based on body type or sexuality. Third, 'geometric simplicity' was generally expressed by pursuing simple and practical fashion with the addition of details, such as geometric forms including stripes or asymmetrical expressions centering around everyday material that is used in clothing. Fourth, with "open communication," Jacquemus constructed his identity by addressing the various needs of consumers based on social network services and continuously sharing his creative ideas with the public. He is gaining popularity in a unique way by responding quickly to the changing atmosphere of society.

• 패션비즈니스
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• 제26권4호
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• pp.32-51
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• 2022

This study analyzed the characteristics and expression techniques of men's fashion bags and their aesthetic and formative values in modern men's fashion from the perspective of neo-deconstructivism. The study subjects were men's fashion bags appearing in four collections in Paris, Milan, London, and New York in the 2019 S/S-2021 S/S season. As a research method, the characteristics and expression techniques of the new disintegration of men's fashion bags were analyzed and categorized through prior research and literature research. The results of the study are as follows: First, the neoclassical characteristics of men's fashion bags caused 'Re-creation' to appear as the dissolution of the design principle and structure of the bag, and it was derived as 'decomposition of form' and 'decomposition of dress method'. Second, the 'Inclusive Diversity' of modern men's fashion bags of neo-deconstructivism appears in the form of gender demarcation and dissonance coordination. Third, 'Playfulness' in men's fashion bags involves the pursuit of fun through unconventional changes in the shape, size, and design of the bag, and it sometimes provides a fresh, new play experience through unpredictable design elements. Fourth, the 'Pursuit of new values' in male's fashion bags was a characteristic wherein the boundary between DIY attire and daily clothes and high fashion by the individual selection of consumers was blurred. This work is meaningful in that it conducted a basic study of men's fashion bags by examining the modern men's fashion bag from the perspective of the philosophical trend of neo-deconstructivism and categorizing its characteristics.

• Journal of Advanced Marine Engineering and Technology
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• 제41권4호
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• pp.323-329
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• 2017

최근 전 세계 기온상승, 해양에서 오염물질 배출 규제 강화 등을 고려할 때 운항선도 연료 절감을 의무적으로 이행해야 한다. 항내에서 오염물질 배출에 대한 IMO 국제기준 및 EU 각국의 제한기준이 강화되고 있다. 따라서 선사와 조선업계에서는 $CO_2$, SOx, 및 NOx 배출을 저감하는 방안에 대하여 모색하고 있다. 지속적인 무역 증가와는 반비례하여 해상운송에 사용되는 연료량은 줄어드는 경향이 있다. 하지만 국제해운 회의소는 2050년까지 해운으로부터 배출되는 이산화탄소를 50% 감축한다는 목표를 설정하였다. 또한 2015년 신기후변화협약이라 불리는 파리 기후협약과 관련하여 IMO는 운항 선박으로부터 온실가스 배출 감축 목표를 설정하기로 제안하였다. 국제 해운수송에서 배출되는 온실가스 배출 감축 목표를 설정하기 위해 연료 데이터수집시스템이 도입될 예정이다. 운항선 연료절감 강제화 추세에 따라 선박으로부터 효과적인 연료 사용 감축을 유도하기 위해, 이 논문에서는 연간 운항 결과를 EEOI로 검증한 후 탄소배출권 거래제 및 탄소세에 기반 한 격려금과 벌과금 부여 제도의 운영과 이에 적용할 기초 식을 제안하였다.