• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.3
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• pp.446-456
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• 2015

Many fashion designers now regard themselves as part of a visual medium that reveals their persona to the masses. They are willing to stay in the spotlight, which influences brand publicity. Designer-as-brand is an important marketing factor in regards to profits. This study combines a literary survey and case analysis of persona marketing as well as inquires on the persona of fashion designers drawing on the theory of persona. This study classifies the persona of fashion designers into four categories that proceed from what has been established above: freak, dandy, duo, and anonymity. The persona of fashion designers has attracted considerable attention over the past decade. This study provides useful information for the persona marketing of fashion designers.

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.4
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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.

• Journal of The Korean Association of Information Education
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• v.19 no.1
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• pp.77-86
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• 2015

The purpose of this paper is to give the opportunity to explore the career in UX(User Experience) designer and presents how to teach for UX design that is stressed in IT industry recently. We develop the textbook which is for 3 class periods for STEAM career exploration of UX designer for K-3 and K-4 students considering their students' intellectual level, prior knowledge and interests. We will offer this program to K-3 and K-4 students, soon. It will be expected that students can accept the knowledge about UX design and explore the career for UX designer.

• Journal of the Korean Society of Costume
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• v.60 no.9
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• pp.1-15
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• 2010

Fashion designer Jean Paul Gaultier incorporated his own boundless and unique artistic Into his design of dance costumes, presenting an unobstructed imaginary world that was filled with freedom, which is no less than one would expect from the one-time enfant t${\'{e}}$rrible of Paris fashion. This creativity of Gaultier was made possible only through the fantastic partnership he formed with the French modern dancer, R${\'{e}}$gine Chopinot. Gaultier and Chopinot shared a deep-rooted sympathy that enabled their own artistic worlds to fully mingle and cross over, resulting in a doubled synergy of their talent and their fame. This study analyzed 11 dancing costumes created through the collaborated efforts of those two enfants t${\'{e}}$rribles, one from the fashion industry and the other from the world of dance. The following are the results of my analysis. Gaultier's dance costumes served as a artistic venue for experimenting with a number of creative inspirations lurking in his mind, which were sometimes expressed in pr${\^{e}}$t-${\`{a}}$-porter collections. Instead of the decorative and expressive features of conventional dance costumes, his was the revival of the dancer's persona as a human being, ablaze with individuality and uniqueness. He pointed out that there is no good in the distorted turturro's fixed point of view, and the great joy of an opposing way of thinking that overturned the established. Leotard material was used as a second skin by transforming it into various styles and delivering his message. In addition, obscene and sexual expressions were delivered in a direct narrative. His eccentric ideas provided entertainment while showing his oppositional way of thinking. In the dance, the effect of the costumes was doubled by the use of cumbersome and exaggerated accessories, which is generally forbidden in modern dance.